
GopgMN" 

eOEXRIGHT DEPOStn 



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New 



Supreme System 



Copyright. 1917, Frcdk T. Croonborg 

Inlcrnalional copytighr, 1917 

by 

Frcd'k T. Croonborg 



Red-Book 

if 

Men's Tailoring 






,r ^^^^^^f"^"^ 




New Supreme System 



For Production of 



cTVIen's Garments 



SCIENCE 



ART 







By 

Frederick T. Croonborg 



Published by the 

Croonborg Publication Fund 

NEW YORK -:- CHICAGO 



TABLE OF CONTENTS 



09 



INTRODUCTORY. Page 

Foreword 8 

Author's Introduction 9 

Preliminaries 10 

Balance 10 

Science and Art 11 

The New Supreme System 11 

Proportions 11 

Height 12 

Stout and Slender 12 

Enlargement 12 

Definition of Type and Variations 13 

Direct Measurements 14 

Block Patterns 15 

Practical Individuality 15 

Advice to Students 16 

The Tailor's Square 17 

Diagram of the Square 18 

The Testor 19 

Correct Dress Chart 20 

The Ideal Model Illustrated 21 

THE NEW SUPREME SYSTEM. 

The Ideal Model and How to Measure 22, 23 

SACK COATS— 

Description 24 

Sack Coats, Illustrations 25 

Sack Coat, Scientific Outline 26 

Regulation Sack Coat 26, 27, 28, 29 

Double Breasted Sack with fitting waist 30 

Small Waisted Sack Coat 31 

Relative Heights 32, 33 

Proportionate Table of Breast Measures by 

Weight and Height 34 

Proportionate Waist Lengths and Full Lengths 

of Coats 34 

Circumference 35 

Sack Coat for Corpulent Man 36, 37 

Enlargements — Instructions and Diagram. .39, 40, 41 

Instructions and Diagram 39, 40, 41 

Sack Coat, Tall and Slim, Mutt 42 

Sack Coat, Short and Stout, Jeff 43 

FROCK COATS— 

Description and Illustration 44, 45 

Outline of Regulation Frock Coat 46, 47 

Three-button Regulation Cutaway 48, 49 

Corpulent Frock Coat 50, 51 

Stout Man's Frock 52 

Three-button Cutaway Frock, Tall and Slim. ... 53 

Double Breasted Frock 54 



VARIATIONS— COATS— 

Definition of Types, Illustrated 55, 56, 57, 58 

Stooping and Erect 59 

Large and Small Blades 60 

Long and Short Neck 61 

Sloping and Square Shoulders 69 

Combination of Erect and Square Shoulders. ... 63 

Combination of Stooping and Sloping Shoulders. 64 

DIRECT MEASUREMENTS— 

Description and Illustrations 65, 66, 67, 68 

Application of Measurements 69, 70, 71, 72 

Application of Measurements — Enlargements... 73 

The Hunch Back 74, 75 

Sleeves 76, 77 

OVERCOATS— 

Description and Illustrations 78, 79 

Single and Double Breasted Sack Overcoat. . .80, 81 

Single Breasted Box Overcoat 82, 83 

Single and Double Breasted Frock Overcoat. .84, 85 

Inverness 86, 87 

Raglan 88, 89 

Ulster 90 

D. B. Riding Coat 91 

FULL DRESS WEAR— 

Description and Illustration 92, 93 

Full Dress Coat 94, 95 

Tuxedo 96, 97 

Carriage Cape 98, 99 

Proportionate Table of Short Measures from Height 
and Circumference 100 

Efficiency 101, 102 

VEST SECTION. 

Proportion Table on Vests 103 

How to Measure 104, 105 

Proportionate Vest 106, 107 

Small Waisted Vest 108, 109 

Notch Collar Vest for Stout Figure 110, 111 

VARIATIONS— VESTS— 

Stooping, Erect 1 12 

Large and Small Blades 113 

Long and Short Neck 114 

Square and Sloping Shoulders 115 

Full Dress Vest 1 16, 1 17 

Clerical Vest 118 

TROUSERS SECTION. 

Proportion Table on Trousers 121 

Trousers Illustrated 120 

How to Measure Trousers 122, 123 

Proportionate Trousers 124, 125 

Corpulent Trousers 126 

Peg-Top Trousers 127 



"ll />4f!764{) 



JUN 28 1917 



TABLE OF CONTENTS 



Page 
VARIATIONS— TROUSERS. 

Variations 128. 129 

Combinations 130, 131, 132, 133 

Broad and Split Falls 134 

Riding Breeches 135, 136, 137, 138 

MILITARY SECTION— 

Military Plate 139 

Specifications and Regulations for U. S. Army 

Officers' Uniforms 140, 141, 142, 143, 144 

The New Preparedness Coat 145 

Service Coat 146 

Full Dress, General, Mounted 147 

General Officers' Dress Uniform Coat 147 

Day Dress, General 148 

Military Overcoat 149 

Circular and Military Capes 150, 151 

Regular Cape 152, 153 

Military Riding Breeches 154, 155 

Chaplain and Knight Templar Coat 156 

INDIVIDUALITY SECTION— 

Sporting Exhibit 157 

Individuality, Description 158, 159 

Single Breasted Novelty Overcoat 160 

Novelty Paddock 161 

Prosperity Coat 162 

Novelty Business Frock 163 

Morning Frock 164 

Dancing Coat 165 

Novelty Dinner Jacket 166 

Novelty Full Dress Coat 167 

Chesty Sack Coat 168 

College Sack Coat 169 

Riding Blouse 170 

Riding Sack 171 

Novelty Blouses 172 

Novelty Vests 173, 174, 175 

Fashionable Riding Breeches 176, 177 

Double Breasted Ulster 178, 179 

Sporting Raglan — Kimona Sleeves 180, 181 

Fashionable Slip-On — One-Piece Sleeve. ... 182, 183 

Combination Slip-On 184, 185 

Box Back Sack Coat 186 

Sleeve Drafted Over Arm Hole 187 

EFFECTIVE MANIPULATION. 

Flared Skirt — Stout Man's Sack Forepart 188 

How to Do It 189 

Raglan Shoulder 190 

Balmacan Slip-On 191 



Page 

Combination Slip-On 192 

Kimona Slip-On 193 

Newport Slip-On 194 

Inverness Slip-On 195 

Combination Sleeve-Yoke Riding Coat 196 

CLOTH CUTTING— Fittings, Canvas, Alterations — 

Description 197 

Lay Outs 198, 199, 200, 201, 202 

Alteration Blank 203 

Fittings 204, 205 

Canvas 206,207 

Alterations 208, 209, 210, 211 

Various Sleeves and Pockets 212 

PRACTICAL tailoring- 
How to Make a Try-On 213, 214 

How to Try-On 214, 215, 216 

Co-operative Tailor Shops 217 

Plan of Work Shop 218, 219 

Illustration of Small Co-operative Work Shop.. 219 

Co-operation Work Upon a Large Scale 220 

Sartorial Progress 220 

Co-operation Plan Illustrated 221 

CONTRIBUTORS, HONORARY MENTION. 

Disproportions, by George P. Rosman 224, 225, 226 

Uneven Shoulder Heights and How to Fit Them, 

W. R. Stanbury 227, 228, 229, 230 

Table of Heights and Weights 230 

Dr. Wampun's System of Variations, by Alex Reaich 

231, 232, 233 

Application of Measures that Define Attitude and 

Suppression, by Charles M. Taylor 234. 235, 236 

Coat with Set-In Sleeves, by W. E. Kkimbach 237 

Attitudes, by Louis M. Gray 238 

A New Business Frock, by Walter C. Foster 239 

The Man on Sticks (Stilts), by Wilson Geddes 240 

Raglans, by D. F. Sherman 241 

TAILORING PROMOTION— 

The Credit System. Abstract of Lecture by 

Lawrence Whitty 242, 243 

System in Tailoring: Eliminating Guesswork. 
Abstract of Wm. H. Vehon's Efficiency Book. .244 

Universal Yardage Table 245 

Cost Finding. Abstract of Lecture by Claud V. 

Beeman 246, 247, 248, 249 

National Associat'n of Merchant Tailors' Roster. 250, 251 
International Custom Cutters' Associat'n Roster. 252, 253 

Honorary Mention 254, 255 

Evidences of Appreciation 256 



FOREWORD 

Representing, as tailoring does, the third largest industry in America, and having developed to 
the point of a fine art, there is infinite need for this new, authoritative text-book, covering scientifi- 
cally and methodically every phase of garment cutting and constructions. 

In his New Supreme System and RED BOOK of Men's Tailoring, Mr. Frederick T. Croonborg 

has presented the subject in so comprehensive and forceful a way that his work is invaluable alike to 

progressive Designers, Cutters and Tailors, who desire to keep abreast of the latest developments 

are seeking the most practical method to attainin Sartorial Science and Art, and to students who 

tailoring success. 

In issuing this volume of a series of text-books, it is well to state what is the general purpose: 
it sets forth a properly graduated course of collective lessons, dealing scientifically with the various 
problems in garment building. 

Design itself is treated as Art. Mr. Croonborg defines design as being an inseparable element 
of good quality, involving the selection of suitable material, expert workmanship, contrivance for spe- 
cial purpose. 

His practical discernment of the need for such a work and perseverence in vesting it with form 
and substance are attributable to his having been long chief actor on the stage of Tailoring and De- 
signing. The author's accurate knowledge of the fundamental principles upon which tailoring is 
based, make the present volume a veritable cyclopedia of men's garment Designing, Cutting and Con- 
structions. The side-lights included in the instructions will be found most valuable to all who wish 
to go deeper than the first glance reveals, to analyze and review on technical principles. 

It is easy to see that the book is the outcome of long personal experience as a tutor, and stu- 
dents taught on the plan herein given will have acquired a lasting knowledge of principles. 

This cyclopaedia is as it ought to be — a CLEARING HOUSE for ideas. In an instant the 
student can place his finger on any problem that he may have pondered over for days, and find it 
worked out with consummate skill. 

Copious knowledge may be imbibed from the pages of this assemblage of ideas, faultless in mat- 
ter as in manner of conveyance to the minds of others. To some — those wearing "The Blue Ribbon" 
of the tailoring guild — the chief value of the work may lie in its admirable classification of ideas which 
are the warp and woof of good tailoring. 

A man, who, out of the fullness of his own experience, has written a treatise that will be useful 
to his fellow workers, is to be congratulated, and the author of this book certainly has earned his 
meed of congratulations. 

J. CuUen Bryant. 



AUTHOR'S INTRODUCTION 

In this New-Supreme-System and RED BOOK of Men's Tailoring, I have incorporated the 
fruits of a more matured experience than in my previous editions, together with all that I have found 
practical and logical of the old school. 

While I have not deviated from my original stand of a perfect foundation, accumulated from 
the true conception of the ideal form of a man, as a base for harmony in Garment Designing and Con- 
struction, I have developed this new Supreme System, (now taught in Croonborg's Sartorial Acad- 
emy) to a point of perfection, practicability and simplicity where it should be within easy mastery 
of diligent students. ^ 

This age of specialization calls for efficiency in every department of human endeavor. As origi- 
nator of System, Fashion Delineator, author and tutor of Garment Designing, I plant myself upon 
my past record, which without a doubt has proven that my system of designing, and method of 
garment construction, is most efficient, and productive. Origination is, on the other hand, a co-opera- 
tive process, no one person really originates. There is unconscious assimilation of products of col- 
lective minds, and he who can assimilate and assort impressions drawn from many sources and crys- 
tallize them into something that is positive and concrete, comes nearest to origination. 

Perseverence, application and faith in one's ability to progress are requisites of the ideal student 
as are confidence in the thoroughness of the system and capability of the instructor. However 
msignificant they may seem, my pupils are required to take up every detail in the art of Designing 
Cutting, etc., at the outset of the course. This method assures a working knowledge that is com- 
plete in every respect. Scientific accuracy combined with simplicity is my motto. 

The course is managed psychologically from every angle. Each new step is planned to stimu- 
late the learner s interest and intelligence, because as a tutor I know that successful teaching depends 
not only on a clearly recognized goal towards which efforts are directed, but also on insight into the 
needs of the student. It has been said that there is no construction in criticism itself, and it is well 
to know how NOT to do things. 

After the elementary steps have been mastered thoroughly, attention is turned to dispropor- 
tions and direct measurements, but at no time is the student permitted to deviate from constant study 
of the proportionate draft. He is urged to familiarize himself with its principles, in fact to impress 
them indelibly upon his mind until he comes to the gradual realization that they are incorporated 
m the drafts to follow, with the true conception of the ideal form as a model. Heights circum- 
ference, attitude, disproportions as well as direct measurements are taken up in their natural sequence 
and in successive lessons the different things are catalogued and inculcated until every salient point 
of the art has been unfolded in its entirety. 

Intelligent application is the master key to the intricacies of the study; it is the open door 
to efficiency which leads to success in one of the most highly respected professions. 

FREDERICK T. CROONBORG. 



PRELIMINARIES 

The system set forth in this volume — and its results — is based upon experience and practical 
application of twenty-five years by high class merchant tailors, qualified manufacturers, by the author, 
and thousands of his successful students. The experience gained during these years of practice has 
revealed many improvements, and I am fully confident that the best results aimed at can be obtained 
from this New Supreme System upon its proper application. 

Personally, I believe in man, and have faith in his capacity to do just as he wills. I further 
believe that hesitation is a detriment to one's own interests. Therefore, the best advice I can give to 
the students of this volume, is to have faith in the system. Confidence is not only valuable but abso- 
lutely necessary in order that we may maintain steady progress toward the thorough qualification 
in Garment Designing. 

The practical value of this volume lies in the realization of Sartorial facts, and truths, which 
will make you stronger in your work. The right mental attitude is very necessary to success in this 
masterly, yet simplified subject. In studying this volume, be perfectly honest with yourself, and 
honest in your application of the system, and while the details seem numerous, you will find that 
the farther you proceed, the more interesting the subject will become. 



BALANCE 

Balance in garment is the first essential knowledge for the successful designer or custom 
cutter. 

We have seen cutters of all kinds. We have seen two cutters working at the same cutting 
board; one of them had been successful, the other a failure. We have known various methods used 
with varied results. The fact remains that balance in a garment, be it coat, vest or trousers, is the 
very first item that should be given earnest consideration. There are designers and cutters whose 
working methods vary greatly, whose results are practically the same, often equally satisfactory or 
equally disastrous. Then, there are cutters using the same system with entirely different develop- 
ments ; some using long measures achieve a fair degree of success, others employing direct measures 
produce passable effects, and some using proportions turn out moderately good garments, while 
others are absolute failures. The pinnacle of perfection and efficiency is not reached simply because 
of lack of understanding of balance and harmony of the different parts. Only by the establishment 
of a true sense of balance can the majority of errors be eliminated. Balance is absolutely neces- 
sary to insure satisfactory results. A successful cutter, therefore, should master the problem of bal- 
ance before giving his attention to artistic skill and individual developments. 



10 



SCIENCE AND ART 

To be of any value, a system of garment designing should be grounded on science, as well as 
on art. 

The fvmdamental principles are based upon a scientific knowledge and true conception of the 
IDEAL FORM in connection with the understanding of definition of t5rpe. Without this founda- 
tion, there can be no system, and without the system there can be no art in garment designing 
and since art is an auxiliary to be applied over the scientific principles and system, the combination is 
the basis of tailoring success. 

THE NEW-SUPREME-SYSTEM 

The-New-Supreme-System is based upon scientific regulations, originating in the true con- 
ception of the ideal. It is composed of proportions, — compounded and complex proportions, 
termed Variations, emanating from definition of type and form — together with methodical measures, 
termed. Direct Measures. To the artistic part of our work belong also the short or direct measures. 
Such measures are largely subject to intelligent judgment, and whatever is a matter of judgment 
should be termed the artistic part of the work. 

PROPORTIONS 

In order to secure Supreme Proportions it is necessary to have a model representing as nearly 
as possible the perfect type of figure. This model is termed THE IDEAL. The ideal dimensions 
are: height, five feet eight inches; weight, one hundred and fifty-five pounds; chest, thirty-eight 
inches. These measurments have been repeatedly verified. The Ideal subject is absolutely normal 
in every respect, including shoulders, attitude, etc. Therefore, the model selected for practice should 
be a thirty-eight, normal Apollo. To be in proportion the subject should measure five inches less 
at the waist than around the breast, and one inch more over the seat than the breast. 

The dimensions for the Ideal Model for the New Supreme System are as follows : 

Height, five feet eight inches. 

Weight, one hundred and fifty-five pounds. 

Circumference of breast, thirty-eight inches. 

Circumference of waist, thirty-three inches. 

Circumference of seat, thirty-nine inches. 
At the outset of the course the student should make an exhaustive study of the square until he 
is thoroughly familiar with it. The regulation tailoring square used in all drafting, is shown on 
page 18. One side of this square shows the fractions and graduations, while the other side gives 
the full inches. Divisional proportions for the Ideal draft are determined by the application of the divi- 
sions on the square, and by its careful use, garments of any size and description may be produced 



readily and with accuracy of detail. In order to preserve the grade these divisions must be applied 
strictly in accordance with the instructions of the New Supreme System, as the divisions are so 
regulated as to give uniformity to each pattern, and the slightest deviation means failure. 

HEIGHT 

This is one of the most variable of proportions, two men seldom being the same height. 
The student more frequently comes m contact with the tall type and the short type than with the 
Ideal man, whose established height is five feet eight inches. While these variations in no way 
change the application of the divisions, they do necessitate additions and deductions to depth of scye, 
waist length, length to seat, and in the majority of cases the length of the garment as well. Study 
of the complete instructions and illustrations given on pages 32 and 33, will make these changes 
clear to the student. 

STOUT AND SLENDER 

Circumference is another variable proportion though five inches is conceded to be the normal 
difference between the breast and waist measurements. Comprehensive instructions for the proper 
method to pursue for the increase and decrease of waist are given with a working diagram on pages 
31 and 36. 

The diagrams of procedure for the corpulent type are given on pages 35 and 36; for the stout 
on pages 37 and 38; and for the slim on page 31. Both text and illustrations relative to waist increase 
and decrease require the serious consideration of the student, as by familiarizing himself with them he 
is enabled to differentiate easily between the slim and normal, corpulent and stout types — a discrimi- 
nation most necessary in successful Designing and Cutting. 

ENLARGEMENT 

It is a deplorable fact that so few cutters know the value of proper enlargement. If the 
advantage to be gained from a thorough knowledge of this branch of cutting could be realized there 
would be less time lost in mastering details. In the busheling department alone thousands of dollars 
might be saved, to say nothing of trouble and worry that could be avoided. Enlargements are 
the expert manipulation of proportions which produce scientifically draped patterns, as well as the 
different effects demanded by various styles. 

By enlargement is meant the ability to build a coat many sizes too large, yet possessing the 
necessary clinging qualities at the neck, a proportionate drape and swing around the body, and the 
arm hole in the correct position and proper height. To know how and when to enlarge is of the 
utmost importance. The various phases of enlarge ment are explained on pages 39, 40 and 41. 



12 



DEFINITION OF TYPE AND VARIATIONS 

After careful perusal of directions and instructions and study of the illustrations contained 
in this publication pertaining to the subject of variations, many operations that at first appear intri- 
cate and complex are unfolded in their logical sequence, becoming the natural and scientific work- 
ing methods of the efficient cutter. To acquire the basic principles underlying variations, close 
investigation of cause and effect from the original draft is necessary. Unceasing observation of 
the different attitudes and subjects a cutter may have occasion to fit, tends to fix the various types 
in his mind permanently, enabling him, together with constant study of mathematical drawings of 
variations of coats, and by application of the divisions in the usual way, to construct excellent pat- 
terns for any size, form or type, whether it be slim, stout, corpulent, stooping or erect, head for- 
ward or backward, sloping or square shoulders, long or short neck or any other deviation from the 
normal. 

It is impossible to emphasize too strongly the importance of careful consideration of attitudes. 
Regarding proportions of height and circumference as a positive foundation for scientific garment 
cutting and designing, it goes without saying that definition of type and form is the most compre- 
hensive resource for variations. A draft cannot be made to conform with the deformation of a 
man unless definition of type species is utilized in an intelligent manner so as to make clear in 
what direction the variations may go (see pages55, 56, 57 and 58). Therefore too much stress can- 
not be laid on definition of type and form, which should be acquired by all cutters who aspire to future 
success. The correct understanding of definition of type and the ability to use it in drafting means 
the application of variations according to definition, and the result will be a well balanced pattern 
for any kind of form and type. It is essential that in actual practice the attitudes be stipulated in 
the right direction. The observant student will discover that a striking similarity exists in all pat- 
terns that are developed by working the ideal model in the various directions stipulated. This is an 
assurance that balance has been preserved and the original symmetry retained despite the num- 
erous ways in which the pattern has been swayed for the different types of forms, increases or 
decreases of circumference, and varying heights. Hence it is readily seen that by the exercise of 
caution in the stipulation of type a proportionate coat admirably fits most men of the same size. 
Should alterations be necessary they are usually minor, even when the cutter may have stipulated 
the third degree of deformation of a given type. Unless there is a pronounced inclination of a 
certain type, a proportionate pattern subject to height and circumference should be cut, as it is 
inadvisable to find fault with the form unless it exists to a degree that makes it clearly visible. 



13 



DIRECT MEASUREMENTS 

It has been proven conclusively that supreme proportions, height, weight, circumference 
and variations for the different t5T)es of men are the elementary principles which govern uniformity 
and balance in garments. 

In the foregoing text the scientific part of garment cutting has been explained as adhering 
strictly to system but in taking up direct measures it is found that in applying them to any part of 
the body much of necessity must be left to judgment alone. Depending entirely on direct meas- 
ures, supposedly proficient cutters in the front ranks of the profession have been known to make 
serious mistakes, hence it is the aim of the New Supreme System to inculcate in the mind of the 
student the fact that direct measures cannot be relied upon as a foundation in themselves. They 
are of value only when used in connection with proportions, heights, variations and circumferences. 
It is not held that direct measurements should be absolutely discarded, but that they are no 
part of any system. Direct measurements are a method which should be intelligently applied over 
system, and only in such application and connection with system are they of value. (See pages 
65, 66, 67 and 68.) 

The logic of this statement is apparent when one recognizes the momentary changes in 
form caused by the shifting of weight, deep breathing or any slight movement the model may make. 
This makes absolute measurements unattainable by varying the relations of points to each other. 
Even a difference in the weight of undergarments will throw measures out of balance. Therefore 
measures as a foundation for garment cutting are wrong. At best they are only a guide to attitude, 
while the proportions including definition of type and variation for the different individuals and all 
classes of men will give the best results. For this reason height and weight, and attitude should 
be stipulated when measurements are taken, as the compounded proportions positively give more 
accurate measures than the average cutter can take. 

The aim of every sartorial artist is to fit and clothe the customer gracefully and in keeping 
and harmony with his personality. To accomplish this, one must be a fundamental cutter, a cut- 
ter in fact. The methodical cutter is only a pretender. He does not advance in garment designing 
while practicing methods that come only from measurements. The fundamental cutter is he who 
acquires scientific principles and applies method above this foundation. "We cannot do things 
unless we know how to do them," is a legend especially true in regard to direct measurements. 
The student must know when and where to apply them or they are valueless. The twentieth cen- 
tury is an era of science and the cutter who does not know the scientific principles underlying his 
chosen profession is a relic of the dark ages. Upon the foundation or system employed lies the 
logic of garment cutting. This scientifically correct NEW SUPREME SYSTEM herein set forth 
is based upon the proportions of height and circumference, with exact divisions applied that 
lay the groundwork for the ideal pattern. There is a tendency on the part of young cutters to 
adopt methods that require superficial measurements. Some are prone to believe that a knowledge 
of anatomy is necessary to success; others go to the extreme of measuring the minutest fraction 
of an inch, but a pressure of the square however slight will upset all such calculations and result 
disastrously. By adopting the method described in the various diagrams, direct measures are of 
great value, and only in the New Supreme System will be found a complete combination of Su- 
preme Proportion, Variations, Heights, Circumferences, Enlargements and Direct Measures. 



14 



BLOCK PATTERNS 

Any man who thoroughly understands the system of drafting, measurements and applica- 
tions, as well as enlargements, and has the principles of variations, etc., can use block patterns 
with as much success as by drafting. This is especially true in regard to sacks and overcoats. It 
is also true that block patterns are safer to use than uncertain drafted patterns. The block, of 
course, would be used as a model subject to variations and measurements, and the fact is that a 
good block in the hands of a proficient cutter will give the same results as drafting. It must, how- 
ever, be understood that no man who does not thoroughly understand System and its resources 
can intelligently use block patterns. 

PRACTICAL INDIVIDUALITY 

Good dressing is an art in which the American man is becoming more and more advanced. 
And as all art successfully developed must first have sympathetic understanding, he has now 
reached the stage where he wants to do more than merely wear his clothes well. He therefore aims 
to express his personality through his dress. 

To make clothes that are individual is to have reached the highest pinnacle of efficiency in 
the tailoring craft. 

If a cutter would only look at the fashions with a view to adapting them to the particular 
characteristics of his customer, instead of with an interest in dressing him in the latest style, the 
question of individual and distinctive dress would be solved. 

The New Supreme System and Red Book of Men's Tailoring provides the student with 
a perfect technique, but it must be employed with intelligent study and artistic skill to produce gar- 
ments that emphasize personality. (See pages 158, 159.) With a thorough knowledge of manipulations 
of patterns, of practical try-ons, patterns may be moulded and extended to fit individual needs. With 
an eye trained to take in the general contour instead of one detail at a time a garment may be pro- 
duced that not only conforms to the latest style, but is correct in such details as the placing of vents, 
position of pockets, line and type of lapels and collar, correct shoulders, cuffs, the prevailing length. 

One of the most important factors in the production of individual clothes is the cutting and mak- 
ing of the canvas of the coat. It is extremely necessary to change the canvas as often as the style de- 
mands as well as for the different individual effects and shapes of fronts. 

FASHIONS 

To establish a harmonious connection between dress and the human figure is the funda- 
mental idea of all sartorial art. Fashion is no longer based upon the foibles or deformities of some 
distinguished personage, but, in the early years of the present century, has capitulated altogether 
to the influence of the time. Hence we are not concerned with the styles of the past or the future, but 
rather with what produces garments so scientifically that they conform to the ideas and needs of 
society and at the same time may be manipulated to suit individual requirements. 

The principles set forth in this publication for the guidance of the student are based therefore, 
upon a scientific and artistic study of the ideal figure and the fashion cuts which illustrate the text 
display only prevailing authoritative styles. Being standard, idealized types, whatever styles the fu- 
ture may demand, may be evolved from them. 

A careful survey of the illustrations will acquaint the student with the prescribed form of dress 
for every occasion, without a knowledge of which he may never hope to succeed in the tailoring pro- 
fession. It is expected that the fashions of every season embrace a wide variety of ideas that may be 
suitable through their innate smartness to the uses and purposes of the younger set and sufficiently 
distinctive and conservative to please the middle aged and elderly man. 

Sometimes the artistic principle has been flagrantly violated and frequently art has been sub- 
dued for the time being by eccentricity. Still we have much to be thankful for that on the whole, by a 
carefully worked out system, the eternal veritieshave been carefully respected and preserved by 
those who are recognized leaders of the craft. Strict adherence to the letter of this system will lead 
to a greater artistic development than has as yet been achieved in the scientific production of clothes. 



15 



ADVICE TO THE STUDENTS. 

The New Supreme System, herewith set forth, is based upon twenty-five years of practical 
apphcation in merchant tailoring, as well as designing ready to wear men's clothes, not alone by me 
personally, but by thousands of my successful students as well. 

During these years of practice and trials many improvements have been revealed and installed 
in this New Supreme System which have not appeared in my previous additions. It is therefore, 
with the greatest confidence that the best results can be obtained from this system and regulations 
upon its proper application, that I offer same to the students. 

Personally, I have great faith in the capacity of man to do as he wills. I have learned that 
hesitation is a detriment to one's own interest and that fundamental principles studied upon a pro- 
gressive plan, is the only logical basis for the study of garment designing, therefore, my advice to 
the student beginning this study, is first, to have faith in the system you are about to learn; confi- 
dence is not only valuable, but a necessity to the student, with the view that he may maintain a 
sturdy progress toward a thorough qualification in garment designing. 

The real value of this system, etc., lies in the realization of sartorial truths, which makes the 
student stronger in his work, therefore, the right mental attitude is very necessary for this masterly, 
yet simplified subject. 

Be perfectly honest with yourself and nonest in application of the system and you will find 
that the further you proceed the more interesting the subject will become; in this connection it is 
well to bear in mind that you must have confidence in yourself, so that you are able to thoroughly 
absorb the details set forth. With this confidence, apply perseverance and you will find it easier to 
become a cutter, as it is a gradual progress from the elementary to the advanced qualifications. 

With the view of encouraging perseverance in the students the first part of the work has been 
drawn up with scientific simplicity and it would be a great mistake to study more than one thing 
at a time. It is unwise for the student to study disproportion or direct measure before he has 
assimulated the true conception of the ideal and the thorough understanding of proportions, there- 
fore, a careful study of the ideal model and its measurements, proportions, etc., should receive the 
first attention, and the proportionate drafts should be gone over and over again until all principles 
of same have been thoroughly acquired, and having in this manner secured the principle points, it 
will be surprising to the student to recognize in the subjects which follow, the same principles 
incorporated, while the subject of heights, attitudes, dis-proportions, measurements, manipulations 
and outlines, will each in its proper order be mastered and which is practically a guarantee to the 
diligent student who will follow the above regulations, a successful future. 

FRED'K T. CROONBORG. 



16 





The Tailor's Square 



The Square is an implement used in drafting patterns. Of all the tools in the Tailor's kit, others 
being the yardstick, tape and chalk, it is the most important, because it illustrates divisions not 
shown on either of the other standards of measurements. These are fractions and multiples of 
the inch, which enable us rapidly to determine proportions with a certitude essential to accuracy of fit. 

We have already seen that in drafting patterns for garments of whatever kind, the cloth is 
always laid on the double in cutting, and one pattern used for both sides. Therefore in laying up 
patterns we use always half of the measure for circumference of any part. For instance if a sub- 
ject is 44 inches breast measure, 22 is the figure used in drafting. For a subject 38 inches breast 
measure, 19 is the basis of computation. 

We will now proceed to a careful examination of the Square. First let us look at the long 
arm, starting from the right angle. We find fractions here, as stated above, of a different denomi- 
nation than those usually given on other standards of measurement. These fractions are neces- 
sary aids to precision in drafting. Commencing at the angle, there are first, twenty-fourths, then 
twelfths, then sixths, and again thirds, and finally two-thirds, of the inch. It is of the utmost import- 
ance to fix these divisions in your memory, and to know accurately their location on the Square. 

■ Next we will scrutinize the short arm of the Square, starting again at the angle. Our sur- 
vey of this part shows us first, sixteenths, then eighths, then fourths, and finally half inches. These 
fractions and their position on the Square, must also be fixed in memory. 

Thorough familiarity with this valuable device is an essential part of the equipment of the 
student for drafting patterns. Study and memorize the different fractions and divisions until you 
can use them with facility and celerity; for the Square will be your constant companion and com- 
petent coadjutor in this ground work of building garments, from start to finish. You will need to 
have recourse to the information with which it furnishes you times without number in your work 
of drafting. 



17 



£f«r" 




18 



THE TESTER 

The Tester is a device designed to illustrate the From A to E is 1/6 on divisions of 48, 24 on the 

divisions applied in the production of the various sizes Square, 
of all kinds of garments for men and boys. From 1 to 5 is 1/6 on divisions of 24, 12 on the 

In the illustration on the opposite page, the Square Square. 
is shown lying against the inside and bottom margins, Draw a line from E to 5. 

while the Testor is drawn in the angle of the Square. 

To draft the Tester: First draw the lines A-1 and ^rom A to D is 1/8 on divisions of 48. 24 on the 

A-L, describing a right angle. Square. 

T^, j-o- , ^ ,t r r A J ^ From 1 to 4 is 1/8 on divisions of 24, 12 on the 

1 he diiierence between the ngures from A down to „ 

1 • T/ ■ u Square. 
1 is ^ mch. ^ ^ 



Proceed now to square out the lines shown on the 



Draw a line from D to 4. 



diagram from 48 to 24, at intervals of one half inch. ^^^^ A to C is 1/12 on divisions of 48, 24 on the 

The distance from A to L is 2/3 on the divisions of Square. 

48, and 24 on the Square. From 1 to 3 is 1/12 on divisions of 24, 12 on the 

From 1 to 9 is 2/3 on the divisions of 24, and 12 on Square, 

the Square. Draw a line from C to 3. 

Draw a line from 1 to 9. 

■ From A to B is 1/16 on divisions of 48, 24 on the 



From A to H is >4 on the divisions of 48, and 24 Square. 
on the Square From 1 to 2 is 1/16 on divisions of 24, 12 on the 

From 1 to 8 is >< on the divisions of 24, and 12 on Square, 
the Square Draw a line from B to 2. 

Draw a line from H to 8. 

If you have followed the instructions given above, 

you will now have completed the drafting of the Testor, 

From A to G is 1/3 on divisions of 48, 24 on the ^hich illustrates graphically the divisions on the two 

Square. sides of the Square, and their application in making meas- 

From 1 to 7 is 1/3 on divisions of 24, 12 on the urements. You may now proceed to try out the accuracy 

Square. of the Tester, as supplying the relative proportions for 

Draw a hne from G to 7. dififerent sizes, according to the divisions on the Square. 

■ By this process you will become familiar with the divi- 

From A to F is 1/4 on divisions of 48, 24 on the sions of the Square, and with the use of that valuable 

Square. instrument within a fraction of the time usually occupied 

From 1 to 6 is 1/4 on divisions of 48, 12 on the in acquiring proficiency in the application of the Square 

Square. to the processes of measurement, which is the province 

Draw a line from F to 6. of the Tester. 



19 



O 

Q 



u 

o 





Pearl or 

Moonstone 

nks and Studs 

Plantinum Bar 

Chain 01 
White Ribbon 




Gold 

or 

Jeweled 

inks and Studs 

Gold Bar 

Chain or 

Black Ribbon 




Gold 
or Jeweled 
Links, Studs, 

and 
Cravat Pin 




Pearl, 
Gold or 
Jeweled 
Links and 

Studs 
Gold Chain 




Pearl 
Gold Links 
Gold Chain 




























Patent 

eather 
uttoned 

d Tops 
Patent 
tier Pumps 


ull Calf 
with 
ced Tops 

or 
unmetal 
*umps 


Patent 
.eather 

ull" Calf 
uttoned 
id Tops 


ced Calf 

or 
Russet 
ti «r Low 


ced Calf 

Russet 
h or Low 




«!»1 t3 




Q « O 




" acaui 




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te Gla 
Whit 
slndee 
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Theat 




y Sue 

n Cap 

or 

liamoi 




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o g S 










1=-^^ = 




2 i2 u 




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White Tie 

of Plain or 

Figured Pique 

or Linnen 




^ 
. ^ 








T3 

a 


Z 

O 


■a 

XI ^ .- 




C/) 




Blac 

-and 
Tie 




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Out 

Self-A 

Cc 

or K 




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o 




Z 

1-4 


















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a 


s 


Q 


Q 




ct 




> 






o 

0« 




£ 

z 


Stiff or 
Pleated 
lite Linn 
or Pique 




•o o j^ 


o 

C/5 
CD 




Q 
0^ 


Jl In 
2 1 




U-l 


.? 


1— ( 


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(b 




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o 






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C/5 




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High 

wit 

Broad 

Bar 




1'- 




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1=^ 


C5 

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H 
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S U ° M 






























Cl, 








w 




J, 










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ja o ~ 






J5 2 u 




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s 














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H 




White 

5le-Breast 

of Pique 

Linen 

or Silk 




fell 

a ^ m 




To 
atch Coat 

or 
f Fancy 
Fabric 




To 
atch Coat 

or 
5f Fancy 
Fabric 




Hp 






c 
S5 




l^« 




s 




s 






i 




























































Full Dress 
Coat Cape, 
Inverness 

Skirted Coat 




Tuxedo, 

Black, Dark Blue 

and Oxford 

Chesterfield 

Overcoat 




Black or 

Dark Gray 

Cutaway or 

Double Breasted 

Frock 




Sack Cost 

Morning Frock 

Chesterfield 

Overcoat 




Norfolk 

or Tourist 

Raglan, 

Slip-on, 

or Belted Coat 


CJ 



20 




Copyriehtby Fred'k T.Croonborg, l'il6 

THE IDEAL MODEL FOR THE NEW SUPREME SYSTEM. 



THE IDEAL MODEL AND HOW TO MEASURE 

Every student whose ambition is to become a successful Cutter or Designer should give thor- 
ough study to the art of measuring. He should further train his faculties by observing the different 
types, shapes and forms of men; and last, but not least, in taking short, or direct measures, he should 
exercise the utmort care, as exactness of these measures is hard to obtain. 

Before ever we take up the details of measurement, the student must acquire a mental con- 
cept of the ideal model as an example of perfect proportion. The ideal figure, specifically described, 
is 5 feet 8 inches in height, and should weigh 15 5 pounds. He should be absolutely normal in 
every respect, in point of shoulder, chest, back, neck, in fact he should exemplify perfect symmetry 
in every particular. (See page 21.) 

After the student has thoroughly assimilated these instructions in regard to the proportions of 
the ideal model, let him look about for a subject who fulfills the requirements of the same. He may 
select from among his friends one who comes the nearest to this standard of symmetry, and keep in 
mind at all times this figure, with a view to developing his conception of the perfect form. Let him 
recall the first name of this friend, and make him the constant companion of his thoughts, keeping 
in his mind's eye his person, carefully studying his proportions, and making them the basis of com- 
parison with the different types and forms of men that he will be called upon to fit. 

I have advised students to take some well proportioned friend as a model of the perfect form, 
because experience has shown that the mental concept suggested by an actual living person will be 
carried in thought with more continuity than an abstract ideal conjured up by specifying certain meas- 
urements, while there is also the advantage of the graphic exemplification of symmetry and grace 
to impress upon the mind of the student the standard from which to make comparisons. 

To continue, then, measurements are divided into three different sections. The first section of 
measurements consists of length and circumference, and embodies also height. The second section 
of measurements consists of definitions of types, forms and attitudes. The third section is that of 
short or direct measures, sometimes called actual measurements. We will therefore proceed to take 
up each section according to the manner in which the illustrations and instructions are arranged in 
this volume, beginning with the first section as defined above. In this exposition of the subject under 
consideration, the student will be shown how to take a complete set of measurements such as are 
necessary to produce a properly proportioned coat subject to height and circumference. 

Practice has demonstrated that the taking of the width of the back and length of coat before 
the customer has removed this garment will give the best satisfaction, for the reason that the old 
coat will act as a foundation for these estimates, and the cutter, by taking measures over same, 
can better distinguish whether the old coat is too long or too short, or too wide or too narrow, and 
how much; thereby obtaining more directly the correct length and breadth for the new coat. (See 
plates No. 1 and No. 2). 

Next, after the coat is removed, place the tape measure around the breast and register the figure 
of circumference of breast. (See plate 3.) Then fix the waist line by placing the tape around the 
hollow of the waist, holding the tape together with the left hand. With a piece of chalk in the right 
hand, mark off the waist line, or point D, as shown in plate 4. 

Now place the tape around the most prominent part of the seat, as before holding the tape 
together with the left hand while marking with the right, point E, plate 5. Then register this seat 
measure. 

Plate No. 7 illustrates the front view of plates No. 3, No. 4 and No. 5; while No. 6 illustrates 
the square properly placed under the arm, and the tape measure attached for measuring of sleeve 
length as indicated from T to 18. 

Next, if possible, obtain the actual height and weight of the subject. The length of coat and 
width of back will be governed by the proportions deduced from height and circumference, these two 
measures having been registered first with a view to making them the basis of computation in de- 
termining other proportions. 

The measures thus far taken should be entered in the book as follows: 

Width of back 14^ inches, see plate No. 1. Seat measure 39 inches, see plate No. 5. 

Full length of coat.. 30 inches, see plate No. 2. Sleeve length 18 inches, see plate No. 6. 

Breast Measure ... .38 inches, see plate No. 3. Height 5 feet 8 inches, weight 155 pounds. 

Waist measure 33 inches, see plate No. 4. 

This is the first Section of Measurements, of what may be termed proportionate measures. 

22 




The popularity of the sack coat for general wear is due to its embodiment of the principles of 
simplicity, comfort and adaptability. With its straight lines, conforming to the contour of the figure, 
its numerous and ample pockets, safe and convenient receptacles for small belongings, its freedom from 
ornamentation and conservative type, it commends itself to the needs of the worker, whether magnate 
or mechanic. 

The adjustment of the sack coat to the uses of the busy man has been attained through a 
process of elimination on the one hand, and of evolution on the other. Through various phases of 
shape and style, marked by close and loose fit, differentiation in detail and finish, this garment has 
presented itself as a candidate for favor in a variety of aspects. It is matter for surprise that such 
latitude of design is possible of achievement in a garment whose general lines admit of so little vari- 
ation from season to season. But the skilled craftsman knows how to secure widely varying effects 
from slight modifications of type, and minor differences in finish. 

With all its simplicity and practical utility, the sack coat is a most becoming garment. Keeping 
as it does to the lines of the figure, lending itself by adaptation of design to the expression of indi- 
viduality, it fulfills the requirements of good taste, and follows the canons of art. Simple and graceful 
in type and fit, characterized by inconspicuous and appropriate fittings and finish, it represents the 
achievement of the artist; for art is skill in expression. 

The sack coat, exemplifying all these characteristics, has no rival as the accepted habit of every 
day for men of all classes, ages and occupations. 

While it is taken for granted that most American men are occupied with business or vocation 
during the hours of the day, the sack coat is equally in favor with the student, and with the traveler. 
By a few skillful touches, the resourceful tailor knows how to alter its lines and adapt its type to the 
needs and personality of his client. Under his plastic fingers its contour and character can be molded 
to express the individuality of the man, whatever his class or calling, without detracting Trom those 
salient features and essential attributes which have made it the correct dress for business. 

The sack coat is essentially a business coat and as such has broad latitude. It is not considered 
the logical garment for either dress or field sports. 

Accessories accompanying the sack coat admit of a wide latitude of choice, good taste alone 
being the arbiter in selection of reinforcements to this cosmopolitan garment. 



24 



Scientific Outline for Sack Coat 



Measures. 
Breast 38 in. Seat 



.39ir 



Waist 33 in. Height 5 ft. 8 in. 



TO DRAFT. 



Square out and down from A. 

A to B is one-third of breast measure. 

B to Bl is 2% inches. 

A to D is length to waist, one-fourth height (17 inches). 

A to E is length to seat, one-third height plus 1 inch (23J4 

inches). 
A to G is full length, one-half height minus 4 inches (30 

inches). 
Square out Bl, D, E and G. 
Bl to H is one-third of breast measure. 
H to I is one-fourth of breast measure. 
I to T is 2 inches. 
H to HI is 1>^ inches. 

Bl to * is the balance line, one-half of breast measure. 
Bl to J is ' 2 full, breast measure. 
J to Jl is 2jX inches. 
Square up and down from Jl. 

Square up from T. 

Square up and down from * for balance line. 
Square up from HI. 

Bl to C is one-fourth breast measure plus J4 inch. 
Place corner square at point T, let long arm of same rest 

on point C, square up from T finding point F. 
Rule a line from F to C locating L. 
Rule a line from T to C locating K. 
Square back as per dash line from L finding point V, which 

is shoulder height. 
X on the balance line to Dl is one-half normal waist meas- 
ure always, (regardless of the size of waist you are 

cutting, be it large or small). 
Square down from Dl always. 



Rule a line from C to Dl and shape back center seam as 
from Al to Dl and down to Gl. 

El to N is one-third seat measure. 

Rule a line from H to N and down. 

A to M is one-sixth breast measure. 

Square up from M. 

M to Ml is 1 inch. 

A to Al is }i inch. 

L to LI is 34 inch. 

K to 5 is ^ inch one line ruled from T to C as shown. 

Shape as per illustration from Al to Ml and from Ml to 
LI, LI to 5 coming in % inch at 5 and from 5 to O 
through N and down. 

X on the balance line to P is one-half waist measure. 

P to PI is 3K' inches. 

F to AA is one-sixth breast measure. 

Sweep forward from A.'\ using point F as pivot finding 
point 10. 

Rule a line from 10 to Jl. ' 

10 to R is one-sixth breast measure. 

Rule a line from 4 to R and out. 

Shape neck hole as per solid line from F to R. 

Q to Ql is % inch. 

Shape front balance line as per dash line from 10 to Jl, 
PI, Ql and down. 

N to Nl is 2i^ inches. 

Rule a line from O thru Nl and down. 

Sweep backward from point 6 using point 5 as pivot, find- 
ing point 8. 

Sweep forward from point 8 using point F as pivot find- 
ing point 11. 

These are the principle points for a normal Sack Coat and 
should be studied first of all. 



26 



Scientific Outline for Sack Coat 




DIAGRAM 1. 



27 



Regulation Sack Coat — Continued 



Measures. 

Breast 38 in. Seat 39 in. 

Waist 33 in. Height 5 ft. 8 in. 



TO DRAFT. 



First lay up all points as described in outline, then 
continue as follows : 
F to 9 is the same distance as from Ml to LI minus 34 

inch. 
5 to 7 is 34 inch. 
Shape side of front part as per tliagram from 7 to O thru 

N and down to point 8. 
From T to Y is 1 inch. 
Shape arm hole as shown from point 9 to Y and from 7 

to Y. 
Shape shoulder as shown in diagram from 9 to F. 
Jl to 13 is 134 inch. 
PI to 14 is 1 inch. 
11 to 15 is ^ inch. 



11 to 12 is J4 inch. 

R to 16 is 2 inches. 

Shape front as per solid line from 16 to 13, 14 and 15. 

Shape bottom as per solid line from 8 to 12. 

Lay up pockets as follows : 

T to 17 is 12 inches (or 2/3 of the average sleeve length. 

18 inches). 
17 to 18 is 3ys inch. 
17 to 19 is 33^ inch. 
Lay up pocket and flap as shown in diagram from 18 to 

19. 
Next place breast pocket in position indicated in this draft 

and the front and back part is completed. 



COLLAR. 



Rule a line from T to 10, finding point S. 
Rule a line from the first button-hole to S and up. 
F to 3 is one-sixth breast measure plus j4 inch. 
1 to 3 is I34 inch. 



1 to 2 is l-'4 inches. 
4 to 5 is 134 inches. 
Shape collar as indicated from 3 to 4, 3 to 2, 2 to 5 and 5 

to 4 and complete. 



28 



Regulation Sack Coat — Continued 




DIAGRAM 2. 



29 



Double-Breasted Sack Coat, with Fitting Waist 




DIAGRAM 3. 



DOUBLE-BREASTED SACK COAT WITH THE 
FITTING WAIST. 

Measures. 

Breast 38 in. Seat 39 in. 

Waist 33 in. Height 5 ft. 8 in. 

TO DRAFT. 

First lay up all points as described in outline and 
continued as in the regulation Single Breasted Sack, dia- 
gram No. 2. (Page 29.) 
For a double breasted Sack, deduct the button stand as 

added for single breasted coat and in place of same 

add from Jl to 13, 3 inches. 
PI to 14, 3 inches. 
12 to 15, 3 inches. 
Take out a V of J4 inch at point Y. 
Rule a line from T to 3 and out. 
3 to 16 is Syi inches. 
Shape front si; shown by solid line from 16 to 13, 14 and 

15. 



Take out a V in side of front part as shown from I in 

armhole down to the pocket. 
From 20 to 21 is % inch. 
Shape from I to 20 and down, and from I to 21 and down 

to the pocket. 
Extend the yi inch taken out in the single breasted coat 

as shown between 5 and 7 which will allow for seams 

that will be used in sewing up the under arm cut. 
Place pockets as indicated and the front and back part is 

completed for a Double Breasted Sack Coat with 

fitted waist. 
Collar is drafted in the same manner as is the collar for 

a single breasted sack coat with the exception of the 

shape. 
From 21 to 23 is 2^ inches. 
25 to 24 is Ij-g inches. 

Shape collar as per diagram from 22 to 25. 
22 to 21 and 23, and from 23 to 24, then from 24 to 25 

and complete. 



30 



Small Waisted Sack Coat 




DIAGRAM 4. 



SMALL WAISTED SACK COAT. 

Measures. 

Breast 38 in. Seat 39 in. 

Waist 31 in. Height 5 ft. 8 in. 

TO DRAFT. 
First lay up all points described in "Regular Sack" 

diagram No. 2, then continue as follows : 

X to D2 is one-half waist measure. 

Divide the distance from D2 to Dl into three equal parts. 

Dl to D3 is one-third of this amount. Shape from C to 
D3 and down as per solid line. This leaves two- 
thirds of a suppression of which one-third is taken 
out from O to Ol and the other one-third from O 
to 02. 

Shape back part as per solid line from 5 to Ol, N and 
down. 



Shape side of front part as per solid line from 5 to 02, 
Nl and down. 

X to PI is one-half waist measure (31 inches). 

P2 to P3 is 3>4 inches. 

PI to P3 is divided into three equal parts. 

PI to P4 is one-third of this amount. 

Re-shape the front line as per dotted line and add the 
button stand the regular way from this line, which 
will reduce the front one-third of the difference be- 
tween normal waist and small waist. 

Take out a V in the side from I extending down to the 
pockets. 

Take out from 20 to 21, the remaining two-thirds of small 
waist shown from P3 to P4. 

Add one-half inch from 7 to 5 for seams needed in V, 
taken out at I of front part and which will close the 
side seams as illustrated. 



31 



Heights 



Upon general principles varia- 
tions of heights group subjects 
into three classes, viz., tall, nor- 
mal and short. (See illustration 
Relative Heights.) It is a matter 
of common experience also that 
in each of these classes we have 
several degrees of the same type 
and form. 

In my experience with students 
I find it rather difficult to impress 
them with the necessity of a full 
understanding of the principles 
underlying variation of height as 
a positive guide for regulation of 
the different stations as well as 
shapes of the figure. An under- 
standing of the deviations of 
height of different subjects is of 
great practical value to the cut- 
ter, not only as a guide to the 
length of the garment, but also as 
a regulator for obtaining the vari- 
ous proportionate stations for the 
different heights, whether for 
slope of shoulder, depth of scye, 
waist length, length to seat, as 
well as average length of coat; 
and in that manner avoiding the 
possibility of making a long gar- 
ment for a short figure, or a short 
one for a tall figure. 

Your attention is therefore 
called to the illustration termed 
Relative Heights. Al is the neck 
point, V is the shoulder slope, Bl 
is the depth of scye, D is the 
waist length, E the length to seat, 
G is the average length of the 
sack coat, H the average length 
of the overcoat. 

The total height of the average 
figure for the ideal model used 
for these proportions is 5 feet 8 
inches, as the middle figure (Rel- 
ative Heights) illustrates. The 
circumference of breast regulates 
the depth of Scye to a great ex- 
tent because the arms and mus- 
cles grade in circumference in 
proportion to the circumference 
of the body. The normal depth 
of scye for the average height of 
5' feet 8 inches is therefore 
founded on the divisional thirds 
of the breast measure plus 3 
inches. For example by testing 
the ideal model 5 feet 8 inches in 
height and 38 inches around the 
breast, we find the depth of scye 



to be a total of 9^4 inches. Again 
we divide the total of this depth 
of scye into three equal parts, 1/3 
of this measurement being the 
proper proportion for the slope 
of shoulder, or the distance from 
Al to point V on illustration 
Relative Heights. It should be 
noted on diagram illustrated in 
this connection that point Al is 



J4 of an inch above the squared 
out line, while the distance from 
B to Bl is 234 inches, and the dis- 
tance from A to B is 1/3 of the 
breast measure, making a total 
of 9% inches. See page 23.) 
Recent changes in attitude of 




RELATIVE HEIGHTS. 



the ideal form of the American 
man as regards both circumfer- 
ence of waist and rise of shoulder 
has made past calculations in re- 
gard to height almost invaluable, 
and practice has demonstrated 
that for each inch the subject is 
taller than the normal form of 5 
feet 8 inches, 1/12 of an inch 
should be added to the depth of 
scye, and for each inch the sub- 
ject is shorter than the normal 
of 5 feet 8 inches, 1/12 inch should 
be deducted from the depth of 
scye. (See diagram.) Point Bl 
indicates the normal breast line 
(The Solid Line), while the dot- 
ted breast line is for a subject 
5 feet 4 inches in height, and 
the dash breast line gives the 
proper depth of scye for a sub- 



ject 5 feet 12 inches in height, in 
accordance with the increase and 
decrease as above specified. 

Proportionate waist length of 
a coat should be 54 oi the entire 
height. For fashionable waist 
length for a frock coat add U/z 
inches. (See Diagram.) Point 
D indicates the normal waist line 
for the average figure of 5 feet 8 
inches in height (The solid Line), 
the dotted waist line being for the 
figure 5 feet 4 inches in height, 
and the dash line for a subject 5 
feet 12 inches in height. 

The length to seat is 1/3 of the 
entire height plus 1 inch. (See 
illustration Relative Heights.) 
Point E indicates the station on 
the diagram for the normal figure 
of 5 feet 8 inches, shown by the 




Solid Line, while the dotted line 
above gives the length for seat 
for the figure 5 feet 4 inches in 
height, and the dashed line be- 
low for the subject 5 feet 12 inches 
in height. 

The average length of a sack 
coat is Yz of the entire height 
minus 4 inches. (See illustration 
Relative Heights point G, also 
Diagram point G.) For the nor- 
mal man 5 feet 8 inches tall The 
Solid Line at point G gives the 
length of the sack, while the dot- 
ted line shows length for the sub- 
ject 5 feet 4 inches tall, and the 
dashed line for the man 5 feet 12 
inches in height. 

The average length of a single- 
breasted frock coat is ^ of the 
entire height plus 3 inches. 

The average length of a double- 
breasted frock coat is Yz the 
height plus 6 inches. 

The average length of an over- 
coat is Y2 the length plus 8 
inches. 

The average length of an Ulster 
is Y2 the length plus 13 inches, 
while the style at all times regu- 
lates the garment. 

These proportions of height 
should be studied carefully, as 
they will serve as a guide for 
regulation of the length of a gar- 
ment according to the height of 
a subject. 

The illustration Relative 
Heights, point Al, shows the posi- 
tion of the neck point, and it is 
well to bear in mind when meas- 
uring that A 1 to V is the shoulder 
slope; Al to Bl is the depth of 
scye; Al to D is the waist length; 
Al to E is the length to seat; 
and the best proportions obtain- 
able from these stations are found 
as per instructions given above, 
including length of the various 
garments herein enumerated. 
Therefore a careful study of the 
illustration Relative Heights and 
of the diagram published in that 
connection, as well as of the prin- 
ciples laid down in this article, 
are sure to make the student con- 
versant with the different types 
of form, as well as the necessity 
of incorporating these divisions 
and proportions into the produc- 
tion of patterns whether of sack 
coat, overcoat or frock coat. 



DIAGRAM: PROPORTIONATE HEIGHTS. 



Proportionate Table of Breast Measures by Weight and Height 





HEIGHT 


Weight 






























5-2 


5-3 


5-4 


5-5 


5-6 


5-7 


5-8 


5-9 


5-10 


5-11 


6-ft. 


6-1 


6-2 


100 


34 


335 


334 


331 


33 


323 


324 


321 


32 


313 


314 


31} 


31 


105 


34i 


m 


34 


333 


334 


331 


33 


323 


324 


32} 


32 


313 


314 


110 


35 


34f 


344 


341 


34 


333 


334 


331 


33 


323 


324 


32} 


32 


115 


35 i 


35J 


35 


343 


3^ 


341 


34 


333 


334 


33} 


33 


323 


324 


120 


36 


35f 


35 i 


351 


35 


343 


344 


341 


34 


333 


334 


33} 


33 


125 


36i 


36i 


36 


353 


354 


351 


35 


343 


344 


34} 


34 


333 


334 


130 


37 


361 


364 


361 


36 


353 


354 


351 


35 


343 


344 


34} 


34 


135 


37A 


37i 


37 


36f 


364 


361 


36 


353 


354 


35} 


35 


343 


344 


140 


38 


37f 


374 


371 


37' 


363 


364 


361 


36 


353 


354 


35} 


35 


145 


38^ 


38i 


38 


373 


374 


371 


37 


36f 


36^ 


36} 


36 


353 


354 


150 


39 


3Sf 


384 


381 


38 


373 


374 


371 


37 


363 


364 


36} 


36 


155 


391 


39i 


39 


38f 


38^ 


381 


38 


373 


37i 


37} 


37 


363 


364 


160 


40 


39f 


394 


39} 


39 


38J 


384 


381 


38 


373 


374 


37} 


37 


165 


40i 


401 


40 


39f 


394 


391 


39 


38f 


384 


38} 


38 


37i 


374 


170 


41 


40| 


404 


401 


40 


393 


394 


391 


39 


38f 


384 


38} 


38 


175 


4U 


4U 


41 


403 


401 


401 


40 


393 


394 


39} 


39 


38f 


384 


ISO 


42 


41f 


4U 


411 


41 


403 


404 


401 


40 


393 


394 


39} 


39 


185 


42i 


421 


42 


413 


414 


411 


41 


403 


404 


40} 


40 


393 


39^ 


190 


43 


m 


424 


421 


42 


413 


414 


411 


41" 


403 


404 


40} 


40 


195 


43i 


431 


43 


423 


424 


421 


42 


413 


4U 


41} 


41 


40i 


404 


200 


44 


43f 


434 


431 


43 


423 


424 


42} 


42 


413 


414 


41} 


41 


205 


44i 


441 


44 


433 


434 


431 


43 


42f. 


424 


42} 


42 


41i 


414 


210 


45 


44i 


444 


441 


44 


433 


434 


43} 


43 


423 


42^ 


42} 


42 


215 


45 i 


451 


45 


443 


44^ 


441 


44 


433 


434 


43} 


43 


423 


424 


220 


46 


451 


45J- 


451 


45 


443 


444 


44} 


44 


433 


434 


43} 


43 


225 


46i 


461 


46 


453 


454 


451 


45 


44^ 


444 


44} 


44 


43f 


434 


230 


47 


46J 


464 


461 


46 


453 


454 


45} 


45 


443 


444 


44} 


44 


235 


47A 


471 


47 


46f 


464 


461 


46 


453 


454 


45} 


45 


443 


444 


240 


48 


473 


474 


471 


47 


46J 


464 


46} 


46 


453 


454 


45} 


45 


245 


48i 


481 


48 


47f 


474 


471 


47 


463 


464 


46} 


46 


453 


454 


250 


49 


m 


484 


481 


48 


473 


474 


47} 


47 


463 


464 


46} 


46 


255 


49i 


491 


49 


483 


m 


481 


48 


47f 


474 


47} 


47 


463 


464 


260 


50 


49i| 


494 


491 


49 


483 


484 


48} 


48 


473 


474 


47} 


47 


265 


50t 


501 


50 


493 


494 


491 


49 


481 


484 


48} 


48 


•473 


47i 


270 


51 


503 


504 


501 


50 


493 


494 


49} 


49 


48J 


484 


48} 


48 


275 


5U 


511 


51 


503 


504 


501 


50 


49f 


494 


49} 


49 


4Si 


484 


280 


52 


513 


514 


511 


51 


503 


50J 


50} 


50 


49J 


494 


49} 


49 


285 


52 i 


521 


52 


513 


514 


511 


51 


50f 


504 


50} 


50 


493 


494 


290 


53 


52J 


524 


521 


52 


513 


514 


51} 


51 


523 


504 


50} 


50 


295 


531 


531 


53 


523 


524 


521 


52 


513 


514 


51} 


51 


50i 


504 


300 


54 


533 


534 


531 


53 


523 


524 


52} 


52 


513 


514 


51} 


51 



For large waisted persons deduct | inch for each inch the waist measure exceeds the proportionate. 
For small waisted persons add J inch for each inch the waist measure is less than proportionate. 
For athletes add one size to the breast measure stipulated. 



Proportionate Waist Lengths and F\ill Lengths of Coats 



Natural Waist — Frock. . . 
Fashionable Waist — Frock 

Sack Coats — Waist 

Sack Overcoats — Waist. . . 
Fuh Length — Sack Coats. . 

— S. B. Frock. 

— D. B. Frock. 

— Dress Coat. . 

— Overcoat. . . 



5-4 


5-5 


5-6 


5-7 


5-8 


5-9 


5-10 


5-11 


6 ft. 


16 


16} 


164 


163 


17 


17} 


174 


17f 


18 


174 


173 


IS 


18} 


184 


183 


19 


19} 


19^ 


164 


163 


17 


17} 


174 


17i 


IS 


18} 


184 


17 


17} 


17^ 


17f 


IS 


18} 


18^ 


isj 


19 


27 


274 


28 


284 


29 


294 


30 


304 


31 


34 


344 


35 


354 


36 


364 


37 


374 


38 


38 


38^ 


39 


39^ 


40 


404 


41 


414 


42 


37 


374 


38 


38^ 


39 


394 


40 


404 


41 


40 


m 


41 


414 


42 


424 


43 


434 


44 



34 



Circumference 



In respect to variations of circumference, subjects are divided into four different types: Slim, 
Normal, Corpulent and Stout. Other types that come up for consideration are known as Tall and 
Slim, and Short and Stout. 

By Slim, I mean a subject who measures less than normal around the waist, for example 38 
breast, 31 waist; and this figure should be treated according to instructions given, as illustrated by 
Diagram 4. 

The Normal draft is that shown on page 29. 

The Corpulent differs from the Stout around the waist as well as over the breast. By Corpu- 
lent, I mean a figure which has grown heavy while still retaining its athletic type, waist measure 
being larger than proportionate; for example 42 breast and 42 waist would be termed Corpulent. 
Again, 40 or 39 waist, with 42 breast, would also be styled Corpulent. See figure No. 10. Any man 
whose waist measure is more than normal, or any man whose waist measure is the same as over 
breast, is Corpulent, and should be treated as shown in Diagram 5. (Page 37.) 







The Stout man measures more around the waist than around the breast. See figure 11 illus- 
trating Stout Form, which should be treated as shown in Diagram 6. (Page 38.) 

In classifying circumference, it may be stated concisely that the Slim figure measures less 
around the waist than the Normal, the Corpulent measures more around the waist than regulation 
or Normal waist measure, while the Stout measures more around the waist than around the breast. 

In application of the divisions for depth of scye, increase and decrease of this measurement 
for figures over 42 breast measure will be only y^ inch. (See diagrams 5 and 6, pages 37-38.) 

The Tall and Slim figure measures less than the average over chest as well as waist, and is 
taller than the average height. (See illustration No. 9 on this page and diagram 9 marked Mutt.) 
(Page 42.) 

The Short and Stout man is he who is considerably shorter than normal, yet in circumference 
measures more than the average man. (See illustration No. 8 on this page and Diagram 10, marked 
Jeff.) 

35 



Sack Coat for Corpulent Men 

Measures Used. 

Breast 46 in. Seat 47 in. 

Waist 46 in. Height 5 ft. 8 in. 

Note tlie difference of increase of the depth of scye. 
A corpulent figure is one whose waist measure is more 
than normal, but still does not exceed breast measure. 



TO DRAFT. 



Square out and down from A. 

A to 46 is one-third breast measure (46). 

Inasmuch as 42 is a stipulated point for the regular grade, 

size 42 is taken in consideration. 
A to 42 is one-third of size, 42 breast. 
Point B is between 46 and 42, this will shorten the scye 

depth in the large sizes. 
B to Bl is 2% inches. 

A to D is length to waist one-fourth height ( 17 inches). 
A to E is length to seat one-third height plus 1 inch (23-)4 

inch). 
A to G is full length one-half height minus 4 inches (30 

inches). 
Square out Bl, D, E and G. 
Bl to H is one-third of the breast measure. 
Bl to * for balance line is one-half breast measure. 
H to I is one-fourth breast measure. 
H to HI is IJ^ inches. 
I to T is 2 inches. 
Bl to J is breast measure. 
J to Jl is Zyi inches. 
Square up and down from Jl. 
Square up and down from T. 

Square up and down from * forming the balance line. 
Square up from HI. 
A to M is one-sixth breast measure. 
M to Ml is 1 inch. 
Bl to CI is one-fourth of 46 breast. 
Bl to C2 is one-fourth of 42 breast. 
C3 is half-way between CI and C2. 
C3 to C is J^ inch. 

Place corner of square on point T with long arm resting 
on point C, square up from T finding point F. 
Rule a line from F to C. 
Rule a line from T to C. 
L to LI is 54 inch. 
K to 5 is ^ inch. 
X to P is one-half waist measure. 
P to PI is 3'/2 inches square down from this point. 
X to Dl is one-half the normal waist measure (which in 

this size should be 41). 
Square down from Dl locating El and Gl as per dotted 

line. 
El to N is one-third the seat. 
Rule a line from H through N and down locating O and 

6. 
X to D2 is one-half the waist measure (46). 
The distance between Dl and D2 is divided in three equal 

parts. 



Dl to D3 is one-third of this amount for back center 

seam. 
Shape as per solid line from C to D3 and square down to 

G2. 
There is two-thirds of this surplus remaining, one-third is 

added to the side seam of the back as from O to 01 

the remaining third is added to the forepart side seam 

as from O to 02. 
N to Nl is 2K' inches. 
Rule a line from O to Nl and down. 
A to Al is ji inch. 
-Shape top of back and shoulder as from Al to Ml, All 

to LI. 
Shape back of armhole from LI to 5 coming in % inch. 
Shape side seam of back from 5 through 01 and down to 6. 
This completes the back. 
From F to 9 is the same distance as from Ml to LI minus 

% inch. 
7 from 5 is 34 inch. 

T to Y is 1 inch, representing the front sleeve notch. 
Shape armhole of forepart as from 7 around through Y 

and up to 9. 
Shape top of shoulder as from 9 to F coming up % inch 

above point 4. 
From F to AA is one-sixth breast. 

Sweep from AA to 10, pivoting at F (or F to 10 is one- 
sixth of the breast). 
Rule a line from 10 to Jl. 

10 to R is one-sixth breast. 
Rule a line from 4 to R and out. 
Rule a line from T to 10 locating S. 

Shape neck hole as from F, through R and out. 

Shape front balance line from 10 through Jl, PI and down 

to n. 

Shape side seam of forepart from 5 through 02. Nl and 

down. 
Sweep back from 6 to 8 pivoting at 5. 
Sweep forward from 8 to 11 pivoting at F. 

11 to 12 is 1 inch. 
Jl to 13 is 1^ inch. 

PI to 14 is 1 inch for button stand. 

From R to 3 is ^ inch. 

3 to 16 is 1% inch. 

Shape lapel and front as from 16 through 13, 14 and 
around to 21. 

Shape bottom of forepart as from 8 to 21. 

The pocket is gained the same as in previous drafts. This 
being a corpulent sack, this pattern should be pleated 
at front of the pocket throwing an opening in the 
under arm cut as shown by the small dotted lines. 
This, however, is a manipulation which is explained 
on page 188. 



36 



Sack Coat for Corpulent Men 




DIAGRAM 5. 



.V 



Stout Man's Sack Coat 



Ml ^ 




DIAGRAM 6. 



THREE-BUTTON STOUT MAN'S SACK. 

Measures. 

Breast 46 in. Seat 49 in. 

Waist 50 in. Height 5 ft. 8 in. 

TO DRAFT. 

First lay up all points as previously described in the 
Corpulent Sack. Diagram No. 5. 
The difference in this draft being that the waist is four sizes 

larger than the breast or 9 sizes over proportion in- 

waist. 
The only difference then being that from PI to P2 is 

one-eighth inch extra for each inch the waist is larger 

than the breast (4/8 in this case). 
The back from X to D2 is one-half of the waist. 



The difference between D2 to D3 is the same amount as 
added from PI to P2 in front or (in other words, what 
is added to the front is taken off in back). 

Dl to D3 is the surplus which is divided into three parts 
in the manner as explained for the Corpulent Sack. 

In shaping out the front balance line, in order to get a 
straighter run, it will be noted that you will have to 
make an allowance over the breast as shown from Jl 
to J2. 

This, of course, increases the size that much through the 
breast which should be taken out in armhole as from 
T to Tl and also reduce at side seam as from HI to 
H2 and up the same amount. 

Then the same amount is taken off the shoulder as from 
9 to 22 so as not to gain too much length in armhole, 
which is then reshaped together with the side seam 
as shown by the heavy lines. 



38 



Diagram of Enlargements 




DIAGRAM 7. 



ENLARGEMENTS. 



This shows an enlargement of four sizes over a 36 
normal sack as explained in diagram No. 2, indicated by 
dotted lines on this draft. 

The difference in the enlarged coat is the increase of 
the back as from H to HH which will be one-sixth of an 
inch for each size. (Gained on the thirds of the square.) 
The front of armscye increases J4 of an inch for each size 

enlarged, (in this caseT to TT being 1 inch). 



The distance from C to CC is the same as from T to TT 

always. 
The increase from J to JJ is Yi inch for each size enlarged 

or 2 inches in this case. 
The enlarged seat is used as from El to N and the enlarged 

waist is used as from X to Dl and X to P. 
A complete draft of this will be found on the next page, 

diagram No. 8. 



39 



Enlarged Sack 



Measures as follows: 



Breast 36 in. 

Waist 31 in. 

Enlarged four sizes, making a difference of 4 inches in 
Breast, Waist and Seat Circumference. 

It will be noticed that the depth of scye, waist length, 
length to seat, as well as the full length of the coat re- 
mains the same as original while the increases are in the 
circumference which distributes the goods of the enlarged 
coat in the proper places. This being a coat enlarged four 
sizes, the increases, are therefore, as follows: 
From Bl to H is one-third the regular breast. 
H to I is one-fourth the regular breast. 
I to T is 2 inches. 
T to TT is 1 inch, representing one-fourth inch for each 

size enlarged. 
Bl to HH is one-third enlarged breast (40). 
HH to HI is 154 inches. 
Bl to J is one-half the regular breast. 
J to JJ is 2 inches, representing lA inch for each size 

enlarged. 
J J to Jl is 2y2 inches. 
Square up and down from Jl, square up from TT and 

square up from HI. 
Bl to the * is one-half of the enlarged breast (40). 
Square up and down from this point which is the balance 

line. 

Bl to C is one-fourth the regular breast plus >4 inch. 

C to CC is 1 inch representing y^ inch for each size en- 
larged (same as from T to TT always). 

Place corner of square on TT with long arm resting on 
CC, square up from TT locating F and AA. 

Rule a line from TT to CC. 

Rule a line from F to C. 

A to M is one-sixth the regular breast. 

Square up from M. 

M to Ml is 1 inch. 

Rule a line from Ml to L. 

From K to 5 is >)4 of an inch. 

From X to Dl is one-half enlarged waist measure. 

Square down from Dl, locating El and Gl. 



Seat. 



.37 in. 



El to N is one-third the enlarged seat. 

Rule a line from HH to N and down, locating O and 6. 

L to LI is %. inch. 

A to Al is 34 inch. 

Shape top of back as from Al to Ml and Ml to LI. 

Shape back of arm scye from LI to 5 coming in ^ inch. 

Shape side seam of back part from 5 through O, N and 

down to 6. 
5 to 7 is J4 inch. 
N to Nl is 2y2 inches. 
Shape side seam of fore part from 7 through O. Nl and 

down to 8. 
F to 9 is the same distance as from Ml to LI minus J4 

inch. 
TT to Y is 1 inch. 

Shape arm hole from 7 through Y and around to 9. 
F to AA is one-sixth the regular breast. 
Sweep from AA to 10 using F as pivot. 
Rule a line from 10 to Jl. 

10 to R is one-sixth the regular breast. 
Rule a line from 10 to TT locating S. 
X to P is one-half enlarged waist. 

P to PI is 314 inches. 

Q to Ql is M inch. 

Shape front balance line as from 10 through Jl. PI, Ql 

and down to 11. 
Sweep back from 6 to 8 pivoting at 5. 
Sweep forward from 8 to 11 pivoting at F. 

1 1 to 12 is % inch. 
R to 3 is ^ inch. 

3 to 16 is 1% inch. 

Jl to 13 is 1J4 inch. 

PI to 14 is 1 inch. 

Shape top of shoulder from 9 to F. 

Shape neck hole from F through R and out. 

Shape front of coat from 16 through 13, 14 and down. 

Shape bottom coat from 8 to 12. 

Lay up button stand and pockets as before explained. 

This finishes draft. • 



40 



Enlarged Sack Coat 







DIAGRAM 8. 



41 



MUTT 



Ml ^ 




DIAGRAM 9. 



TALL AND SLIM. 

Measures. 

Breast 36 in. Seat 

Waist 29 in. Height . 



.37 in. 
..6 ft. 



TO DRAFT. 

First lay up all points as previously described in Small 

Waisted Sack, Diagram No. 4. 

The only difference being in height as explained on pages 32 
and 33 in connection with Relative Heights, as a sub- 
ject taller than 5 feet 8 inches requires more depth 



to the armscye, waist, seat and full lengths, the 

changes will be as follows : 
B to B2 is 2.yi inches. 
B2 to Bl is 4/12 of an inch, (one-twelfth of an inch for 

each inch the subject is taller than 5 feet 8 inches, 

as found on the twelfths of the square). 
Length to waist, A to D is one-fourth of the height, (18 

inches in this case). 
Length to seat, A to E is one-third the height plus 1 

inch, (25 inches in this case). 
Full length, A to G is one-half the height less 4 inches, 

(32 inches in this case). 



42 



JEFF 



Ml ^ 




DIAGRAM 10. 



50 in. 

5 ft. 4 in. 



SHORT AND STOUT. 

Measures. 

Breast 48 in. Seat 

Waist 52 in. Height 

TO DRAFT. 
The difference in this draft being in the height it 
is changed in the manner explained in diagram m con- 
nection with Relative Heights. As a subject shorter than 
5 feet 8 inches requires less length to the depth of scye, 
waist, seat and full lengths, the change will be as follows : 
From B to B2 is 2J4 inches. 



B2 to Bl is 4/12 of an inch (one-twelfth of an inch for 

each inch the subject is shorter than 5ft. 8 in., as 

found on the twelfths of the square). 
Length to waist, A to D is one-fourth of the height (16 

inches in this case). 
Length to seat, A to E is one-third of the height plus 1 

inch (21 1/3 inches). 
Full length A to G one-half the height less 4 inches or 

(28 inches long). 
All other points as previously described in the Stout Sack 

Diagram No. 6. 



43 




The frock coat is the proper garment for all semi-dress occasions and in its modified form is 
worn by many professional men for business. 

The double-breasted or Prince Albert coat, takes its name from the late Prince Consort, whose 
use of this garment gave it a sanction as the proper model for formal functions. The pictures of 
this royal prince, faultlessly attired in this graceful and dignified habit, published broadcast in the 
newspapers and magazines of Christendom, gave it an association which added to its prestige and 
stamped it with the approval of this most august censor. A coat for a king it surely seemed, de- 
veloped in finest materials and on lines of grace and elegance, as it was for the apparel of the kindly 
and gracious gentleman whose name it bears. 

The dignity and beauty of this model ensure its retention in the wardrobe of the well-dressed 
man so long as men's wear keeps to the simple lines which characterize the dress of the modern man. 
The cutaway frock, however, less severe and formal in type, has to a great extent usurped the place 
of the Prince Albert for all but state occasions. Its more genial and adaptable qualities commend 
it to the favor of the modern man, whose taste runs always to simplicity and utility. 

As an adaptation of the more severe type, and a more ambitious garment than the sack, it fulfills 
a function to the professional man and to certain classes of business men who are adopting this habit 
with increasing frequency as expressing the character and quality suited to their callings. So admir- 
ably does the cutaway, or single-breasted frock, lend itself to the every day needs of these classes, 
that It bids fair to become a stronger favorite as time goes on. Slight changes in shaping, length and 
fit, mmor differences in accessories and finish, may come into favor from time to time, but the cutaway 
frock will remain with us, true to type, for many years to come, as first choice for professional men, 
and for semi-formal occasions. 

At weddings, receptions, teas, musicales, then, and at church, the cutaway graces the form of 
the well-bred gentleman, while the Prince Albert is reserved for state occasions. 

For social occasions with the frock coat, trousers of gray striped worsted are worn, or trousers 
of the same material as the coat if the waistcoat be of other than plain material. Either a derby 
or silk hat is allowable, and the shirt may be of white or fancy goods, plain or pleated; a fold or wing 
collar, with a four-in-hand or once-over tie for that part ; and suede or reindeer gloves. Patent, dull 
calf, or kid button shoes, and gold or jeweled links, studs and scarf pin, are other details in the costume 
to be worn for dress occasions with the cutaway or Prince Albert. 



44 




FROCK SUIT, ILLUSTRATED. 



45 



Outline of Regulation Frock Coat 



Measures. 



Breast 38 in. 

Waist 33 in. 



Seat 39 in. 

Height 5 ft. 8 in. 



TO DRAFT. 



Square out and down from A. 

A to B is one-third of the breast. 

B to Bl is 2^ inches. 

A to D is the natural waist length, one-fourth of the 

height less 5^ inch (16^ inches). 
From A to Dl, the fashionable waist length is l'< inches 

extra (18 inches). 
Square out lines, Bl D and Dl. 
Bl to H is one-third the breast. 
H to I is one-fourth the breast. 
I to T is 2 inches. 
H to HI is IjA inches. 
Bl to J is one-half full breast. 
J to Jl is 23/ inches. 
Square up and down from Jl. 
Square up from T and square up from HI. 
Bl to the star is one-half of the breast measure. 
Square up and down from star which represents the balance 

line. 
Bl to C is one-fourth the breast, (the j/ inch addition at 

this point is omitted in frock coats). 
Place corner of square on point T with long arm resting 

on C, square up from T locating F and AA. 
Rule a line from F to C locating L. 
Rule a line from T to C. 
A to M is one-si.\th the breast. 
Square up from M. 
M to Ml is 1 inch. 
A to Al is 14 inch. 
L to LI is 34 inch. 
L to K is one-eighth of the breast. 
X to O is 134 inches, always. 
O to U is one-half,the waist. 
The difference between U and D is suppression and should 

be divided into four equal parts as shown by 1, 2 

and 3. 
One-fourth of this amount as from D to 3 is taken out 

for the center seam. 



Rule a line from C to 3. 
Rule a line from 3 to 19. 
3 to N is one-eighth of the breast, square up and down 

from this point. 
Shape back as shown from Al to Ml, Ml to LI, LI to K, 

K around to N and down. 
N to 6 is 2/4 of the suppression, the same distance as from 

1 to 3, square up and down from this point. 
6 to V is one-fourth of the waist. 

V to 8 is the remaining one-fourth of the suppression or 

the same as from U to 1. 
HI to W is 1/12 of the breast. 

Rule a line from W through the center of V and 8. 
T to Y is 1 inch always. 
Rule a line from K to Y. 
F to AA is one-sixth breast. 
Sweep forward from AA to 10 pivoting at F. 
Rule a line from 10 to Jl. 
10 to R is one-sixth of the breast. 
Rule a line from 4 through R and out. 
X to P is one-half the waist. 
P to PI is 334 inches. 
Q to Ql is one-sixth of the breast. 
Shape front balance line from 10 through Jl, PI and Ql 

coming in 34 inch at Ql. 
Shape neck hole as from F around through R. 

VI is 34 inch below the lower waist line. 
Rule a line from VI to Ql. 

This finishes the outline. 

Study the waist suppression at the waist line and note 
that in the back your small waisted subject will give 
you more suppression and your large waisted subject 
will give you less suppression. Therefore the division 
between U and D will be regulated according to the 
waist measure used. The waist measure on the fore- 
part will be applied in the same manner as in the 
Sack Coats. 



46 



Outline of Regulation Frock Coat 




DIAGRAM 11. 



Three-Button Regular Cutaway Frock 



Measures. 

Breast 38 in. Seat 39 in. 

Waist 33 in. Height 5 ft. 8 in. 



TO DRAFT. 



First lay up all points as described in outline of the 
Frock Coat. Then continue as follows : 
A to G is the full length, one-half the height plus 3 inches 

(37 inches). 
Square out from G. 
Square down from 3 to Gl. 
Square down from N. 
Shape balance of back as from N to G2, coming out ^ 

of an inch at El, as shown. 
From K to 5 is ^ of an inch. 
Shape side body as from 5 around to 6 and down. 
W to 7 is ^ of an inch. 
F to 9 is the same distance as from LI to Ml minus ^ 

inch. 
Shape arm hole as from 5 to 7, 7 through Y to 9. 
Shape top of shoulder from 9 to F, coming up 3^ of an 

inch above 4. 
Shape side seam of side body from 7 through W to 8 and 

down. 
Shape side seam of forepart from 7 through W to V and 

down. 
11 to 12 is 5^ of an inch. 
Shape bottom of side body from 11 to J^ of an inch below 

waist line at VI. 
Jl to 13 is 154 inches. 
PI to 14 is 1 inch. 
R to 3 is H inch. 



3 to 16 is 1^ inches. 

Shape lapel and front part from 3 to 16, 16 to 13, 14 and 

down to Ql as illustrated. 
Shape bottom of forepart from % inch below waist line at 

\'l to Ql, as illustrated. 
Rule a line from T to 10, locating S for crease line. 
Rule a line from the top button through S and up. 
Square down from 11. 
11 to E is one-third of the seat. 
Square back from E. 
E to El is 1/12 of the seat. 
Rule a line from 12 through El and down. 
From 12 to 23 is the same distance as from Dl to G plus 

yi inch. 
From Ql to 17 is |^ of an inch. 
Shape top of skirt from 12 to 17. 
17 to 18 is 1 inch less than 12 to 23. 
Rule a line from 23 to 18. 
21 is half-way between 23 and 18. 
Shape skirt from 17 to 21 around to 23. 
El to 15 is >^ inch. 

Shape back of skirt from 12 through 15 and down to 23. 
20 is half-way between X and P; take out J4-inch V in 

forepart as shown at this point. 
Lay up the breast pocket and collar, and extend a 1^4" 

inch vent in back part, as shown, from Dl and out. 

This completes the draft. 



48 



Three-Button Regular Cutaway Frock 




DIAGRAM 12. 



49 



Corpulent Frock Coat 



Measures. 

Breast 46 in. Seat 48 in. 

Waist 46 in. Height 5 ft. 8 in. 

TO DRAFT. 



Square out and down from A. 
A to 46 is one-third the breast (46 inches). 
A to 42 is one-third of 42 breast. (This principle is fol- 
lowed the same as in Corpulent Sack. See Diagram 

No. 5.) 
B is between 42 and 46. 
B to Bl is 2;54 inches. 
A to D is the natural waist length, one-fourth the height 

less J/ inch. 
A to Dl is the fashionable waist length, ly^ inches added 

(18 inches). 
A to G is the full length, one-half the height plus 3 inches 

(37 inches). 
Square out lines Bl, D, Dl and G. 
Bl to H is one-third of the breast. 
H to I is one-fourth of the breast. 
I to T is 2 inches. 
H to HI is 1>< inches. 
Bl to J is one-half the breast. 
J to Jl is 2y2 inches. 
Square up and down from Jl. 
Square up from T. 
Square up from HI. 
B to the star is one-half of the breast. 

Square up and down from the star which represents the 
balance line. 

Bl to CI is one-fourth of 46, breast. 
Bl to C2 is one-fourth of 42, breast. 
C is between CI and C2. 
Place the corner of the square on point T with long arm 

resting on C. Square up from T, locating F and AA. 
Rule a line from F to C. 
Rule a line from T to C. 
A to M is one-sixth of the breast. 
Square up from M. 
M to Ml is 1 inch. 
A to Al is >4 inch. 
L to LI is 14 inch. 
L to K is one-eighth the breast. 
T to Y is one inch. 
Rule a line from K to Y. 
X to O is iy2 inches. 
O to U is one-half of the waist. 
The difference between U and D is the waist suppression, 

which is to be divided into four equal parts, as shown 

by 1, 2 and 3. 
D to 3 is one-fourth of this amount, taken out for the 

center seam. 
Rule a line from CI to 3. 
Square down from 3. 
3 to N is one-eighth the breast. 
Square up and down from N. 
Rule a line from 3 to 19. 
Shape back from Al to Ml, Ml to LI, LI to K, and from 

K around through N and down to G2, coming out f^ 

of an inch at E, as shown. 
N to 6 is 2/4 of the suppression as from 1 to 3. 
.Square up and down from 6. 
6 to V is one-fourth of the waist. 



V to 8 is the remaining one-fourth of suppression, as from 

U to 1. 
HI to W is one-twelfth of the breast. 
W to 7 is J4 of an inch. 
K to 5 is 5^ of an inch. 
Shape side body from 5 around to 6 and down, and from 

5 to 7, from 7 through 8 and down. 
Shape side seam of forepart from 7 through V and down. 
F to 9 is the same distance as from Ml to LI, minus 34 

inch. 
F to AA is one-sixth of the breast. 
Sweep forward from AA to 10, using F as a pivot. 
Rule a line from 10 to Jl. 

10 to R is one-si.xth of the breast. 
Rule a line from 4 through R and out. 

Shape arm hole of forepart from 7 through Y and around 
to 9. 

Shape top of shoulder from 9 to F, coming up j/g of an 
inch from 4. 

Shape neck hole from F around to R. 

X to P is one-half of the waist. 

P to PI is Sy inches. 

Square down from PI. 

Rule a line from Jl to PI. 

Q to Ql is one-sixth of the breast. 

Square back from Ql. 

Ql to 21 is one-fourth the waist. 

A "V" of 5^ of an inch is taken out from 21 to 22. repre- 
senting y inch for each inch the waist is over pro- 
portion. 

Jl to 13 is ly inches. 

PI to 14 is 1 inch. 

Shape lapel in front as from R to 16, 16 to 13, 14 and 
down to Ql, coming in y inch at this point. 

Rule a line from VI to 22. 

11 to 12 is ^ of an inch. 

Shape bottom of side body from 12 to VI, coming down 
y inch from waist line. 

Shape bottom of forepart from y inch below waist 
line at VI to 22, and from 21 to Ql, as shown. 

Square up from 21 to 20 and take out the V as shown be- 
tween 21 and 22 to pocket the stomach. 

Square down from 11. 

11 to E is one-third of the seat. 
Square back from E. 

E to El is one-twelfth of the seat. 

Rule a line from 12 through El and down. 

12 to 23 is the same distance as from Dl to Gl, plus y 

inch. 
22 to 17 is ,'/> inch more than 21 to Ql. 
Ql to 17 is 1 inch, y inch for each inch the waist is over 

proportion plus the regular ^ inch as usually taken 

out. 
Shape top of skirt from 12 through 22 to 17, as shown. 
17 to 18 is 1 inch less than from 12 to 23. 
El to IS is y inch. 

Shape back of skirt from 12 through 15 to 23. 
Shape front of skirt from 17 around to 23. 



50 



Frock Coat for Corpulent Man 




DIAGRAM 13. 



51 



Stout Man's Frock 




DIAGRAM 14. 



STOUT FROCK. 

Meastires. 

Breast 48 in. Seat 49 in. 

Waist 50 in. Height 5 ft. 8 in. 

Tlie changes in this draft will be followed in the same 
manner as shown in Stout Sack, Diagram No. 6, regarding 
the addition at the breast line between Jl and J2, which 
will then be taken out at the side seam of the forepart, as 
shown at W, the same amount as added from Jl to J2. 

The arm hole will also be advanced the same amount 
as from T to Tl. The same amount is taken ofif the shoul- 
der seam as from 9 to 24. 

The arm hole and side seam of forepart is then re- 
shaped as per heavy lines, the dash lines indicating the 
regular run. 



The waist will be applied as follows: 
From X to P is one-half of the waist. 
P to PI is Syi inches. 
PI to P2 is 34 inch (representing y^ of an inch for each 

inch the waist is larger than the breast ; 2 inches in 

this case). 

The extra amount added to the waist as from PI to P2 
is deducted from the waist in back by coming forward from 
O to Ol the same amount, then applying one-half the waist 
measure from Ol to U and dividing the difference from U 
to D in the regular four parts. 

The difiference from Ol to 17 in this case will be 1J4 
inches, as explained in Corpulent Frock, from which you 
will finish the balance of this draft. 



52 



Three-Button Cutaway Frock, Tall and Slim 




DIAGRAM 15. 



THREE-BUTTON CUTAWAY FROCK. 
TALL AND SLIM. 

Measures. 

Breast 36 in. Seat 37 in. 

Waist 29 in. Height 5 ft. 11 in. 

The changes you make in this draft will be in the 
height and the small waist. Follow the same instructions 
for height as explained in "Relative Heights," also Tall 
and Slim Sack Coat, Diagram No. 9. In this case the 
depth of scye would be increased as follows : 
A to B is one-third of the breast. 
B to B2 is 2.)4 inches. 



From B2 to Bl is 3/12 of an inch — 1/12 inch for each 

inch the subject is taller than 5 ft. 8 in. 

The waist lengths and the full length will also be 
changed in the same manner according to the height. 

On the waist line the small waist will take care of 
itself in the back part, the waist being smaller. This will 
give you more suppression and the four equal parts be- 
tween U and D will be greater than the normal waist. 

The front of the waist will be governed in the same 
manner as explained in Small Waisted Sack Coat, Dia- 
gram No. 4. 

All other points as previously described in regular 
Frock Coat, Diagram No. 12. 



53 



Double-Breasted Frock Coat 




DIAGRAM 16. 



DOUBLE-BREASTED FROCK COAT. 

Measures. 

Breast 38 in. Seat 39 in. 

Waist 33 in. Height 5 ft. 8 in. 

TO DRAFT. 

First lay up all points as described in outline of the 
Frock Coat. The changes are as follows : 
A to G being full length, one-half of the height plus 7 

inches (41 inches). 
Omit adding the button stand. 
Sweep out from R using PI as a pivot. 
Rule a line from Ql through PI and up locating 3. 



Rule a line fruni T through 3 and up. 

3 to 16 is 3 inches. 

J2 to 13 is 3J4 inches. 

Ql to 14 is 2y2 inches. 

Shape revere from 16 through 13 to 14. 

Shape out from Ql to 14. 

Square down from 14 by the waist line. 

14 to 21 is 9 inches. 

21 to 22 is 34 inch. 

Rule a line from 14 to 22 and down locating 18. 

The length of the front and back of the skirt will be regu- 
lated the same as in the regular frock. 

Place the buttons 33.-J inches apart, (the lower button 
being in waist seam). 
(See page 188 for Flared Skirt.) 



54 





Definitions of Types 



Having completed the study of Section No. 1, The Ideal Model and How to Measure, as well 
as the drafting of proportionate patterns from height and circumference, according to diagrams and 
explanation of enlargements, we come next to Definitions of Types. 

In actual practice the subject of Definitions of Types in patterns comes immediately after 
the First Section of Measurements, and for this reason we have so arranged the illustrations. 






In order to explain this subject in a comprehensive manner, a number of types of figures are 
represented in the illustrations to the end that the student may study characteristics of different sub- 
jects, and fix in his mind a code of variations from the normal. 

Variations from the normal may be described as: 

Stooping or erect figure. 

Large or small blades. 

Long or short neck. 

Sloping or square shoulders. 

Head forward or backward. 
The degrees of these variations from the normal are three in number, and are termed: 

First degree Slight inclination, % inch. 

Second degree Medium inclination, y^, inch. 

Third degree Extreme inclination, 3/^ inch. 



55 



These degrees of deformation hold good for any of the above specified variations from the 
normal. Therefore, having taken the measurements as directed in Section No. 1, having registered 
height and weight, and ascertained the style of garment desired, it is essential to make a thorough 
examination of the figure of your subject, and a careful study of his attitude. 

Students who have gained a correct conception of the Ideal Form, and made comparisons of 
different subjects with this as a standard, if trained to accurate observation, will be able to determine 
at a glance the character of the form, and the degree of deformation, if such exists. By first view- 
ing the subject from the front, the Cutter will be able to ascertain whether he is sloping or square 
shouldered, and in what degree; also to note the development of muscle, and if the man be broad or 
narrow chested. Next it is well to look at your subject from the side. You will see from this view- 
point whether he is stooping or erect, whether he holds his head forward or backward, and in what 
degree these deformations are present. By observing your subject from the back, you will be able to 
determine if he has a large or small blade, and if so, in what degree. 





In order to present this subject of the gradation of the degrees of deformation with graphic 
clearness, a number of illustrations are given, of which all except the normal show the second degree 
of variation. 

Figure A illustrates the Normal. ' 

Figure B illustrates square shoulders. 

Figure C illustrates sloping shoulders. 

Figure D illustrates the stooping form., 

Figure E illustrates the erect form. ; 

In providing for the requirements of different subjects, we constantly come in contact with ex- 
amples illustrating two or more types of deformation. For instance, a man may be both sloping 
shouldered, and stooping, or he may have sloping shoulders, with stooping posture, and at the same 
time have large blades ; again he may have a long or short neck in connection with square shoulders 
and small blades, with an erect carriage. (See Figure F for Sloping shoulders, large blades and 
stooping shoulders; and see Figure G for Square, small blades and erect position). 



56 



Besides these illustrations the student is referred to the special diagram showing the shoulder 
slope from the back, which is also a study of the long and short neck, the square shoulder and 
short neck. Figure No. 3 shows the Normal. Figure No. 2 shows the medium square shoulder, and 
Figure No. 1 the very square shoulder with short neck. Figure No. 4 illustrates the medium slope, 
and Figure No. 5 the very sloping, with long neck. 

In studying the various types of form, be sure that the illustrations pertaining to them are thor- 
oughly understood. Then picture to yourself the three different degrees. Place yourself before a 
mirror and pose yourself first in the normal position, then in the first, next in the second, and finally 
in the third degree of Square. 

Next pose yourself as nearly as possible successively in the three degrees of Sloping. Then 
study your own form to see if you have large or small blades, if you are stooping or erect, etc. 
When walking in the streets, and in public assemblies, notice the different types and forms of men. 





Observe whether this or that man has a long or short neck, large or small blades, or any other de- 
formation, and in what degree. By so doing you will the sooner become famihar with these variations 
of type and degrees of deformation, which are matters of great importance to this subject. Always 
carry in mind the Ideal Model, and notice the variations from this standard, and the degree of same. 
You will be surprised to find in how short a time, comparatively, you will be able to classify the dif- 
ferent types, and to specify the degree of variation, with promptness and accuracy, so that you can 
apply these principles in actual practice. 

The Second Section of measurement consists of the definitions of all the types and degrees of 
variation, and should, therefore, be entered on your order book just after the First Section of meas- 
urements, and before taking direct measures, so as to be sure that the variations have been accurately 
specified in detail, as variations in drafting belong to the scientific side of the system. 



57 



Deformations of types and degrees of variations must be definitely stated before taking direct 
measures. Therefore specify in your order book under Section 2 whether your subject is Normal, or 
Square in the first, second or third degree; 
Sloping in the first, second or third degree; 
Having large blades in the first, second or third degree; 
Having small blades in the first, second or third degree; 
Stooping in the first, second or third degree; 
Erect in the first, second or third degree ; 
Having long neck in the first, second or third degree; 
Having short neck in the first, second or third degree; 
Carrying head forward in the first, second or third degree; 
Carrying head backward in the first, second or third degree. 




Square. 



Normal. 



Sloping. 



Caution should be used in specifying the degree of the above deformations and variations, as 
in drafting their application will have immediate and decided effect on the pattern. Therefore do not 
try to find fault with the form of your client if on careful examination no noticeable inclination to 
any of the above stated types is evident, as practice has demonstrated that a garment produced from 
a well proportioned pattern will fit at least half of the men of the height and circumference for which 
it was drafted. If the inclination is so slight as to be difficult to distinguish, I would accordingly 
advise you to cut a pattern proportioned on normal lines. 




58 



VARIATIONS 

Stooping and Erect 



This diagram illustrates both stooping and erect atti- 
tudes. The balance is changed from below the breast line, 
maintaining a permanent shoulder point. 

Lay up a normal draft and proceed as follows : 

STOOPING. 

Stipulate the degree of variation by !4 inch, ^ inch or }i 

inch, for 1st, 2nd or 3rd degree. 
The stooping attitude is indicated by the long dash lines. 
Bl to B2 is J4 inch (for 2nd degree). 
Place corner of square on B2, with the short arm resting 

on the star, square down from B2 
Rule a line from B2 through the star and out. 
D to D2, E to E2, and G to G2 are each yi inch, the same 

amount as from Bl to B2. 
Square forward from D2, E2 and G2 by the dash lines 

squared down from B2. 
Place corner of square on the star, with the short arm rest- 
ing on B2, square down from the star, locating XI on 

the waist line. 
Square down from Jl, by the dash ( stoop) line, locating 02. 
XI to D3 is Yz the waist. 
Square down from D3, locating E3 and G3. 
E3 to 2 is 1/3 the seat. 

Rule a line from H through 2 and down, locating 01. 
2 to 3 is 2y2 inches. 
Rule a line from 01 to 3 and down, 
XI to P2 is Vz the waist. 
P2 to P3 is 3V2 inches. 
02 to Q3 is H of an inch. 

Shape front balance line from Jl through P3, 03 and down. 
.Shane center seam from C to D3. 
Reshape side seam of back from 5 to Ol and down. 
Reshape the side seam of fore part from 7 through Ol, 3 

and down. 
Finish up the rest of the draft in the regular way. 
These changes are all indicated liy the long dash lines. 

ERECT. 

Stipulate the degree of variation by J4 inch, 5^ inch, or ^ 

inch, for 1st, 2nd or 3rd degree. 
The erect attitude is indicated by the small dash lines. 
Bl to B3 is K inch (2nd degree). 
Place corner of square on P>3, with the short arm resting 

on the star, square down from B3. 
Rule a line from B3 through the star and out. 
D to D4, E to E4, and G to G4, are each V2 inch ( the same 

amount as from Bl to B3). 
Square forward from D4, E4 and G4, by the small dash 

lines squared down from B3. 
Place the corner of square on the star, with the short am: 

resting on B3, square down from the star, locating X2. 

on the waist line. 
Square down from Jl, by the small dash (erect) line, locat- 
ing 04. 
X2 to bS is yi waist. 

Square down from D5, locating E5 and G5. 
E5 to 4 is 1/3 seat. 



DIAGRAM A. 




Rule a line from PI through 4 and down, locating 02. 

4 to 6 is 2^ inches. 

Rule a line from 02 through 6 and down. 

X2 to P4 is yi waist. 

P4 to P5 is Syi inches. 

04 to OS is f-4 of an inch. 

Shape front balance line from 11 through P5, OS and down. 

Shape center seam from C to DS and down. 

Reshape the side seam of back from 5 through 02 and 

down. 
Reshape the side seam of fore part from 7 through 02, 6 

and down. 
Finish the rest of the draft in the regular way. 
These changes are all indicated by the small dash lines. 



59 



LARGE AND SMALL BLADES. 

This diagram illustrates the changes for both the large 
and small blades. The normal draft is indicated by the solid 



DIAGRAM B. 




LARGE BLADES. 

.Stipulate the degree of variation by % inch, J/2 inch or Y^ 

inch, for 1st, 2nd, or 3rd degree. 
The small dash lines inflicate the change for large Ijlades. 
T to Tl is J4 inch (2nd degree). 
Square up from TL 
HI to H2 is >^ inch (2nd degree). 
Square up from H2, locating 8. 

Rule a line from Tl up, parallel with line TF, as shown. 
Tl to Yl is 1 inch. 
Points 5 and 7 are found in the usual manner, but will be 

advanced to line H2, as shown by the dash lines. 
Rule a line from Ml to 8. 

F to 10 is the same distance as from 8 to Ml, minus 54 inch. 
Reshape the arm hole and side seam, as shown by the smill 

dash lines. 



SMALL BLADES. 

Stipulate the degree of variation by J^ inch, 3/2 inch or ^ 

inch, for 1st, 2nd or 3rd degree. 
The dash and dot lines indicate the change for small blades. 
T to T2 is ^ inch (2nd degree). 
Square up from T2. 
HI to H3 is Yz inch (2nd degree). 
.Square up from H3, locating 6. 

Rule a line from T2, parallel with line TF, as shown. 
T2 to Y2 is 1 inch. 
Points 5 and 7 are found in the usual mannei', but will be 

brought back to line FI3. as shown by the dash and dot 

lines. 
Rule a line from Ml to 6. 

F to 11 is the same distance as from Ml to 6, minus 34 inch. 
Reshape the arm hole an^ side seam, as shown by the dash 

and dot lines. 



60 



LONG AND SHORT NECK. 

This diagram illustrates the changes for both long and 
short neck. The solid lines indicate the normal draft. 
DIAGRAM C. 




SHORT NECK. 

Stipulate the degree of variation by 34 inch, 3^ inch or % 

inch, for 1st, 2nd or 3rd degree. 
The dash and dot lines indicate the change for short neck. 
A to A4 is Yi inch (2nd degree). 
Square out from A4. 
A4 to M4 is 1/6 breast. 
Square up from M4. 
M4 to MS is 1 inch. 
A4 to AS is 34 inch. 
Rule a line from MS to L. 
Reshape top of back from AS to MS, MS to LI, as shown 

by the dash and dot lines. 
Rule a line from the star through F. 
F to F2 is 3^ inch (2nd degree). 
Square forward from F2. 
Rule a line from T through F2 and up. 
F2 to AA2 is 1/6 breast. 

Sweep forward from AA2 to 12, pivoting at F2. 
Rule a line from 12 to Tl- 
12 to R2 is 1/6 breast.' 
Rule a line from 4 through R2. 
Rule a line from 9 to F2. 
Reshape the top of shoulder and neck hole from 9 to F2, 

F2 around to R2, as shown by the dash and dot lines. 



LONG NECK. 

Stipulate the degree of variation by 34 inch, 3/2 inch or ^ 

inch, for 1st, 2nd, or 3rd degree. 
The small dash lines indicate the change for long neck. 
A to A2 is Yj inch (2nd degree). 
Square out from A2. 
A2 to M2 is 1/6 breast. 
Square up from M2. 
M2 to M3 is 1 inch. 
A2 to A3 is Y\ inch. 
Rule a line from M3 to LI, and reshape top of back from 

A3 to M3, M3 to LI, as shown by the small dash line. 
Rule a line from the star through F and up. 
F to Fl is 3^ inch (2nd degree). 
Square forward from Fl. 
Rule a line from T to Fl and up. 
Fl to AAl is 1/6 breast. 

Sweep forward from AAl to 11, pivoting at Fl. 
Rule a line from 11 to Ji- 
ll to Rl is 1/6 breast." 
Rule a line from 4 through Rl. 
Rule a line from 9 to Fl. 
Reshape top of shoulder and neck hole from 9 to Fl, around 

to Rl, as shown by the small dash lines. 



61 



SQUARE AND SLOPING SHOULDERS. 



This diagram illustrates the changes for both square 
and sloping shoulders. The solid lines indicate the normal 
draft. 



DIAGRAM 




SQUARE SHOULDERS. 

Stipulate the degree of variation by Y^ inch, J4 inch or % 
inch, for 1st, 2nd or 3rd degree. 

The small dash lines indicate the change for square shoul- 
ders. 

LI to L2 is 3^ inch (2nd degree). 

Rule a line from Ml to L2. 

K to K2 is 3^2 inch (the same as from L to L2). 

Square out from K2. 

9 to 12 is y2 inch (2nd degree). 

Rule a line from 12 to F. 

F to 12 is the same distance as from Ml to L2, minus % of 
an inch. 

T to T2 is y2 inch. 

Square back from T2. 

Rule a line from T2 to F. 

T2 to Y2 is 1 inch. 

Points 5 and 7 are found in the usual manner from K2. 

Reshape the top of shoulder and arm hole, from Ml to L2, 
L2 to 5. 

Reshape the side seam from 5 to O. 

Reshape side seam of fore part from 7 to O. 

Reshape front of arm hole from 7 around to Y2 to 12. 

Shape top of shoulder from 12 to F. 



SLOPING SHOULDERS. 

Stipulate the degree of variation by ^ inch, Yi inch or ^ 
inch for 1st, 2nd or 3rd degree. 

The small dash and dot lines indicate the change for slop- 
ing shoulders. 

LI to L3 is Y^ inch (2nd degree). 

Rule a line from Ml to L3. 

Kl to K3 is y2 inch (the same as from LI to L3). 

Square out from K3. 

9 to 11 is >^ inch (2nd degree). 

Rule a line from 11 to F. 

F to 11 is the same distance as from Ml to L3, minus >4 
of an inch . 

T to T3 is K' inch. 

Square back from T3. 

Rule a line from T3 to F. 

T3 to Y3 is 1 inch. 

Points 5 and 7 are found in the usual manner from K3. 

Reshape the top of shoulder and arm hole from Ml to L3, 
L3 to 5. 

Reshape the side seam from 5 to O. 

Reshape the side seam of fore part from 7 to O. 

Reshape the front of arm hole from 7 around to Y3 to 11. 

Shape top of shoulder from 11 to F. 



62 



COMBINATION OF ERECT AND SQUARE SHOULDERS. 

DIAGRAM E. 




ERECT AND SQUARE SHOULDERS. 

See diagram A for Erect, and diagram D for Square Shoul- 
ders. 
Stipulate the degree of variation by Ya, inch, ^ inch or V4 

inch, for 1st, 2nd or 3rd degree. 
Lay up the foundation for the normal sack coat in the 

regular manner. 
Bl to B2 is 1/2 inch. (2nd degree.) 
Place comer of square on B2, with the short arm resting 

on the star ; square down from B2. indicated by the dash 

and dot lines. 
Dl to D2 is yi inch (the same amount as from Bl to B2). 
Square forward from D2 bv the dash lines squared down 

from B2. 
Rule a line from B2 through the star and out ; square down 

from Jl by this line. 
Place corner of square on the star with the short arm on 02, 
square down from the star, locating X2. 
X2 to D3 is ^ the waist. 
Rule a line from D3 to A. 
Reshape the center seam as shown from A, coming in a 

trifle at C, and down to D3. 
X2 to P is H the waist. 



P to PI is 33^ inches. 

Reshape the front line from 10 through J 1 to PI as shown 

by the small dash lines. 
L to L2 is ]/-> inch. (Square Shoulders, 2nd degree.) 
Rule a line from Ml to L2. 
K to K2 is J4 inch (the same as from L to L2). 
Square out from K2. 
K2 to 5 is J^ inch. 

Shape the back as from Al to Ml, Ml to L2, L2 to 5. 
Come out ^ inch at 5, and shape the side seam of back to 

O as illustrated. 
5 to 7 is ¥2 inch. 

Shape side seam of fore part from 7 to O. 
T to T2 is 1/2 inch. 
13 from the star is J^ inch. 
R2 to 8 is J^ inch. 
Rule a line from T2 to 13. 
Rule a line from 13 to 8. 
Rule a line from T2 to F. 
T2 to Y is 1 inch. 

9 to 12 is y2 inch. (Square Shoulders, in 2nd degree.) 
Rule a line from 12 to F. 

Shape arm hole from 7 around to Y, and from 12 to Y. 
Shape the top of shoulder from 12 to F, which completes 

the draft. 



63 



COMBINATION OF STOOPING AND SLOPING SHOULDERS. 

DIAGRAM r. 




STOOPING AND SLOPING SHOULDERS. 

See diagram A for Stooping and diagram D for Sloping' 

Shoulders. 
Stipulate the degree of variation by 34 inch, J^ inch and ^ 

inch, for 1st, 2nd or 3rd degree. 
Lay up the foundation for the normal sack coat in the regu- 
lar manner. 
Bl to B2 is >4 inch (2nd degree). 
Place corner of square on B2, with the short arm resting 

on the star; square down from B2, indicated by the 

dash lines. 
Dl to D2 is y^ inch (the same amount as from Bl to B2). 
Square forward from D2 by the dash line squared down 

from B2. 
Rule a line from B2 through the star and out, square down 

from Jl by this line. 
Place corner of square on the star with the short arm on 

B2; square down from the star, locating XI. 
XI to D3 is Yi the waist. 
Rule a line from D3 to B. 
Reshape the center seam as shown from A, coming out a 

trifle at C, and down to D3. 
XI to P is J^ of the waist. 



P to PI is ZY2 inches. 

Reshape the front line from 10 thru Jl, to PI, as shown 

by the small dash lines. 
L to L3 is >4 inch (Sloping Shoulders, 2nd degree). 
Rule a line from Ml to L3. 
K to K3 is y2 inch (the same as from L to L3). 
Square out from K3. 
K3 to 5 is ^ inch. 

Shape the back as from Al to Ml, Ml to L3, L3 to 5. 
Come out Ya, inch at 5, and shape the side seam to O, as 

illustrated. 
5 to 7 is '/' inch. 

Shape side seam of fore part from 7 to O. 
T to T3 is 3/ inch. 
13 from the star is Yi inch. 
B2 to 8 is Y2 inch. 

Rule a line from T3 to 13, and from 13 to 8. 
Rule a line from T3 to F. 
T3 to Y is 1 inch. 

9 to 11 is V2 inch. (Sloping Shoulder, 2nd degree.) 
Rule a line from 11 to F. 

Shape arm hole from 7 around to Y, and from 11 to Y. 
Shape top of shoulder from 11 to F, which completes the 

draft. 



64 




DIRECT MEASURES. 
Third Section of Measurements 




In the Section dealing with First and Second Measurements your attention has been directed 
to the Ideal Model, and the manner and order in which measurements are taken has been illustrated 
and explained. Definitions of Types and Degrees of Deformations have also been considered, in 
the application of this System to the requirements of the various and diverse forms of men. I have 
tried to make it clear in these discussions that in the taking of measurements, generally speaking, 
and in defining types especially, some latitude of discretion is allowable. When we take up the con- 
sideration of the relative proportions founded upon height and circumference, and influenced by 
variations, we have definite scientific principles to govern our operations according to tested and es- 
tablished methods, upon which we can place implicit reliance. And conversely disregard of the rules 
laid down is liable to work serious injury. We therefore term the measures for which directions 
have been given in previous lessons Proportionate Measures, remembering always that they have 
reference to length and circumference only. Direct Measures are, from the scientific standpoint, sup- 
plementary measures, being such as can be taken from or to any part of the body, and applied to and 
from any part of the draft. This name may seem to imply a superfluity, and so to confuse the 




mind of the student. But it has been adopted to mark the distinction between the fixed relations 
that have been found to exist with respect to the several fundamental measures, and the latitude 
permissible in dealing with the infinite multiplicity of types, forms and attitudes that present them- 
selves for adjustment to System in the persons of the clients who come to avail themselves of the 
good offices of the tailor. Supplementary measures, or direct measures, as they are also called, can- 
not in themselves be relied upon to produce symmetrical and graceful outlines, but combined judici- 
ously with fundamentals, they act as a guide to variations for attitudes. While it is apparent that 
Proportionate Measures as defined above, and graded variations have their place in a System, it is like- 
wise essential to the well equipped Cutter to be able to deal successfully with direct measures, though 



65 



it is not possible to determine with any degree of precision the relations between the several dimen- 
sions here, as in the case of Proportionate Measures. It is therefore evident that both theory and 
practice are necessary to qualify the student to become adept in this art of measuring. 

The implements of measurement are the square, the tape, and the chalk. The pliable tape 
can be passed over curving surfaces and in places difficult of access, as under the arm, while the 
square gives divisions important to this process, as explained in another section. These direct meas- 
ures will give the actual dimensions of a subject, and are indispensible in ascertaining variations 
from normal proportions, deformations, and abnormalities not classified. This is the theory of these 
direct measures, and it should be so understood, and their value and utility neither under nor over- 
estimated. 

Direct or supplementary measures are as follows: 

Depth of Scye Over Shoulder Measure 

Waist Length Front Measure 

Length to Seat Blade Measure 

Strap Measure. 
When taking proportionate measures, chalk marks should be made on the back of the subject 
to indicate the different stations for supplementary measures. The utmost care must be exercised in 




the taking of these supplementary measures, as accuracy is of special importance here, because these 
measures cannot be determined by the application of the system, but represent the personal idiosyn- 
cracies of diversified types. To this end it is important for each student to procure for his own 
use in the classroom and afterwards in actual practice work, a Measuring Square on which the vari- 
ous proportions of the short measures are specified. With this indispensible implement, and with 
the tape, we will now proceed in a methodical way to take supplementary measures. 

First attach the tape to the angle of the square. Stand behind your subject, and fix the neck 
point by laying the tape to the back of the neck, allowing both ends of same to run to the front. 
Turn the tape under the arms and across the back by holding both ends of the same together with 
the left hand, and with a piece of chalk in your right hand, mark points Al and Bl (See plate No. 8). 

Next place the end of the tape at point Al, pass the tape through your right hand to point Bl 
(Plate No. 9), and register the measure for Depth of Scye. 

Now let the tape pass through your right hand to point D, and register Waist Length from 
Al to D (Plate No. 10). 

Pass the tape through the right hand to point E, and register Length to Seat from Al to E 
(Plate No. 11). 

Place the measuring square under the left arm, making sure that you situate it accurately, high 
enough, but not so as to raise the shoulder of your subject. It must be precisely level, also. 



66 



Now recall the Breast Measure taken in the First Section of Measurements. Find the same 
figure on the Measuring Square, also proportionate figures for supplementary measures in this con- 
nection. While the measures taken may not be in exact correspondence with the proportionate meas- 
ures indicated in the square, the latter will still be of material assistance in obtaining correct meas- 




14 15 16 

Having placed and adjusted the square as shown in the illustration of Front View (Plate No. 
12), proceed to take measures as follows: 

From T on the front view (Plate No. 12) to point Al shown on the back view (Plate No. 11), 
and register Strap Measure. 

Next measure from T on the front view (Plate No. 13) to Bl on the back view (Plate No. 16), 
and register over Shoulder Measure. Turn the tape to the front and measure from T to Jl on the front 
view (Plate No. 14), and register Front Measure. 

Turn the tape under the arm and across the back and measure from T on the front view (Plate 
No. 14) to Bl on the back view (Plate No. 15), and register Blade Measure. 

The complete measures for a coat of the proportions of the Ideal Model, according to the New- 
Supreme-System, should be entered in your measuring book as follows: 



Proportionate Measures 



Length 30 inches. 

Width of Back 15 inches 

Breast Measure 38 inches. 

Waist Measure 33 inches. 



Seat Measure 39 inches. 

Sleeve Length 18 inches. 

Height 5 feet 8 inches. 

Weight 155 pounds. 



Definition of Type 



(Height, weight, attitude, personality, etc.) 
Short Measures. 

Over Shoulder .... 
Front Measure .... 
Blade Measure .... 



Depth of Scye 9^ inches 

Waist Length 17^ inches 

Length to Seat 23^ inches 

Strap Measure 12>^ inches 

The measures specified above are all that are necessary to be taken for the drafting 
If desired additional measures may be taken, but it is not advisable to multiply details, 
confusion it is well to keep close to fundamentals, especially in learning to apply the 
practical uses. 

67 



I71/2 inches 

71/2 inches 

11% inches 

of patterns. 

To avoid 

System to 



Experienced Cutters are as a rule very conservative about introducing innovations. A safe 
rule to follow is to use proportions and variations according to instructions, and if supplementary 
measures are found to be at variance with these, give the benefit of the doubt to the standard by cut- 
ting the difference in half, and placing the point midway between the two. The practical tailor, 
and the advanced student may profitably avail themselves of whatever advantage is to be gained by 
these supplementary measures but the novice is advised to hew to the line of proportionate measures 
until he obtains a thorough mastery of the System as applied to normal standards. In so doing he 
will be following the methods of the most successful Cutters, who are always conservative in deviat- 
ing from the symmetry of the normal proportions. The usual way is the best way, and the safe 
way, and that is, as stated above, to apply variations to the draft according to the definition of at- 
titude so as to place the different points in position for measurements, and finally to apply direct meas- 
urements for what they are worth. The average of the two will be the right measure to use in laying 
up your pattern. 




1^,..# 
'K 










SPRING EXHIBIT BY FRED'K T. CROONBORG, 1916. 



68 



APPLICATION OF MEASUREMENTS. 
Normal Draft. 




Measures as follows : 

Breast 38 in. 

Waist 33 in. 

Height 5 ft. 8 in. 

Attitude Normal 

Study— "DIRECT MEASURES," the Third Section 

Measurements, pages 65-66-67. 



Depth of scye 9^ in. 

Blade llJ/2 in. 

Strap 12^ in. 



of 



TO DRAFT. 

Lay up the normal draft subject to height and circumfer- 
ence in the regular way. 
Apply the depth of scye from Bl to Al. 
Apply blade measure from Bl to 2. 
2 to T is 15^ inches for seams and make-up. 
Apply the strap measure from T to A A (plus 3/2 inch), 
A A to F is the same distance as from Al to Ml. 



69 



APPLICATION OF MEASUREMENTS. 
Abnormal. 




DT 



Depth of scye 10 in. 

Blade 12 in. 

Strap 1334 in. 

Width of back 7^ in. 



Measures as follows : 

Breast 38 in. 

Waist 33 in. 

Height 5 ft. 10 in. 

(For large blade second 
degree, long neck second de- 
gree, see diagrams B and C: 

TO DRAFT. 
First lay up the draft subject to height and circumfer- 
ence with the variations of Large Blades and Long 
Neck applied. 
A3 to Bl is depth of scye (no allowance). 
Bl to Tl is the blade measure, plus IJ^ inches (for seams 
and make-up). 



C to Z is the width of back, plus Yz inch for seams. 
T to AA is the strap measure, plus Yi inch for seams. 
AA to Fl is the same distance as from A3 to M3. 

Apply the waist measure from O to Dl. 

Place this amount on PI and continue to U. (J/2 the waist.) 
U to O is Zy^ inches (for seams and make-up). 

Note: — The depth of scye is increased from the nor- 
mal an extra half inch for long neck, and one full eighth 
inch for increased height. The blade measure increases 
3^2 inch for large blade. The strap measure will increase 
Vz inch for long neck, and one full eighth inch for increased 
heiffht. 



70 



APPLICATION OF MEASUREMENTS. 
Abnormal. 




R'leasures as follows : 

Breast 40 in. 

Waist 40 in. 

Height 5 ft. 8 in. 

(For stooping, in 2nd de- 
gree ; sloping in 2nd degree.) 



Depth of scye 10^4 in. 

Blade 12 in. 

Strap 13% in. 

Over-shoulder .... 19 in. 

Front 8 in. 

Width of back JVa in. 



TO DRAFT. 

First lay up the draft subject to height and circum- 
ference, with the variation of Stooping and Sloping Shoul- 
ders applied, see diagrams A and D. "Variations." 
Al to 8 is the depth of scye (no allowance). 
B2 to T3 is the blade measure, plus IJ/2 inches for seams 

and make-up. 



T3 to AA is the strap measure, plus yi inch for make-up. 

AA to F is the same distance as from Al to Ml. 

Apply the over-shoulder measure, plus 1 inch from 12 to 14, 

place this amount upon T3, and continue up to 15. 
C to Z is the width of back, plus yi inch for seams. 
T3 to Jl is the front width, plus one inch. 
Apply the waist measure from Ol to D3. 
Place this amount upon PI and continue to U. 
U to 02 is 3J/2 inches (for seams and make-up). 

Note: — The normal depth of scye is 9^ inches for 
this size. There is an increase of one inch here, 3.-2 inch for 
long neck, and yi inch for sloping shoulders. The strap 
measure will loose J^ of the amount the back has gained 
for stooping, but would also gain J/2 inch for the amount 
of shoulder slope. 



71 



APPLICATION OF MEASUREMENTS. 
Abnormad. 




Breast 38 in. 

Waist 31 in. 

Height — 5 ft. 4 in. erect in 
the second degree, small 
blades in the second degree, 
square shoulders in the sec- 
ond degree. 



Blade 11 in. 

Front 8 in. 

Strap 12J4 in. 

Over-shoulder .... 165'8 in. 

Width of back 6J4 in. 

Depth of scye 8 in. 



TO DRAFT. 



cumference. Note the variations, and apply them in the 
legular manner. See diagrams "A, B, D, Variations." 

Having finished these preliminaries, the draft is then 
in a position for measurement. 

Apply all measurements and allow the same additions 
as previously illustrated, and explained in the Application 
of Measurements. Also note that these measurements call 
for small waist, therefore, take out a V in the side and add 
two seams, or 3^ inch to side of front part at 5, as shown 



First lay up the draft subject to the height and cir- bv the dotted lines. 



72 



APPLICATION OF MEASUREMENTS. 
Enlargement. 




This diagram is laid up for the purpose of ilhistrat- 
ing how measurements are applied in connection with en- 
largements (see page 40), and it will be clearly seen by 
illustration that depth of scye and strap are applied in the 
same manner, as usual, as well as that of blade, with lYz 
inch addition, which is the total distance from T to Bl. 

T to Tl is the amount the coat is enlarged, and this 
amount is allowed for draping, necessary in enlarged gar- 
ments, and is therefore not figured in with the measure- 
ments, and these are the only three short measures to be 



applied in connection with proportions and variations for an 
enlarged coat. 

In connection with the study and practice of these 
diagrams, thoroughly study the different types, Height, Cir- 
cumference and Enlargements ; also the three different sec- 
tions of measurements. Be sure to read the introductory 
articles, as well as that on Theory and Practice, and try to 
commit same to memory, as all of these have direct bearing 
on these diagrams and explanations. 



73 



APPLICATION OF MEASUREMENTS. 
Hunchback. 



This diagram illustrates the manner in which a coat is 
drafted for regular hunchback. While same can be pro- 
duced from proportions and variations, actual measures are 
of more value for a subject of this kind than for any other. 

Measurements used as follows : 
Breast 36 in. Upper width of 



Waist 31 in. 

Seat 36 • in. 

Waist length 15 in. 

Seat length 21 in. 

Full length 26 in. 

Depth of scye 8% in. 

Head forward in third degree. 



14 



idth 



,11 



back 
Lower 

back 
Blade . 
Front measure .... 7 

Strap 10 

Over-shoulder .... 15 '4 
Squared 1 5^ 



TO DRAFT. 

Square out and down from A. 

A to B is 1/3 breast. 

B to Bl is 2^ inches. 

A to Al is 34 inch. 

Al to D is waist length. 

Al to E is seat length. 

Al to G is full length. 

Square out lines G, E, D and Bl. 

Bl to H is 1/3 breast. 

H to I is 34 breast. 

I to T is 2 inches, square up from T. 

Bl to J is 3^ full breast measure. 

J to Jl is 234 inches. Square up and down. 

H to HI is 13^ inches. Square up. 

Bl to C is 34 breast, plus 54 inch. 

Square out from C, locating Z. 

C to CI is }i of an inch or 34 ^or each degree of head for- 
ward. 

Place comer of square on CI with long arm resting on 7. 
and square up. 

A to A2 is }i of an inch. 

Square out from A2, bv line C1-A2, locating F line. 

A2 to M is 1/6 breast. ' 

M to Ml is 1 inch. 

Place corner of square on point T, letting long arm rest 
on CI. 

Square up from T, locating F. 

Rule lines from T to CI and F to CI. 

T to Tl is 134 inches for square shoulders. .Square back 
from Tl, locating B2. 

L to LI is 134 inches for square shoulders. 

9 to 13 is I34 inches, for square shoulders. 

Point K is also raised 1 '/ inches from its reeular station. 

Shane ton of neck from % of an inch above .\2 to Ml, Ml, 
LI and down to 5, which is 3^ inch out from K. 

5 to 7 is 34 inch. 



Shape arm hole from 7 around to 13 and shoulder 13 to F. 

F to AA is 1/6 breast. 

Sweep forward from AA, pivoting at F, locating point 10. 

Apply measure for depth of scye from B2 to A2. 

Apply blade measure plus 134 inches from Tl to B2. 

Apply upper width of back plus 3^ inch as shown. 

Apply lower width of back plus 3^ inch as shown. 

Apply strap measure plus yi inch from Tl to AA. 

Apply over-shoulder measure plus 1 inch from B2 to 14 
and Tl to 15. 

Apply front measure plus 1 inch from Tl to front balance 
line. 

D to Dl is yi inch 

Rule a line from B through Dl and down. Square out from 
Gl. 

Bl to the star is 3^ breast. 

Square up and down which fomiulates center balance line. 

El to N is 1/3 the seat. 

Rule a line from H through N and down. 

Shape side seam of back from 5 through O and N to 6. 

N to Nl is 234 inches. 

Rule a line from O through Nl and down. 

Shape side seam and fore-part from 5 through O and Nl 
to 8. 

X to P is 34 waist. 

P to PI is 33^ inches. 

2 to 3 is ^ of an inch. 

Apply waist measure in the regular manner. 

P to 01 is ^ of an inch. 

Shape from 10 through JL PL 01 and down. 

10 to R is 1/6 breast. 

Rule a line from 4 to R. 

Shape gorge from F through R and out. 

Sweep back from 6. pivoting at 5 to 8. 

Sweep forward from 8 to 11, pivoting at F. 

Add button stand of 134 inches at top button, one inch at 
lower button, and shape bottom and front as per dia- 
gram. 



74 



APPLICATION OF MEASUREMENTS. 
Hunchback. 




75 



NORMAL SLEE\^ES. 

Sleeves are drafted according to the size of the arm 
hole circumference. 

If the arm hole measures 19 inches around, use this 
size as the drafting power. This sleeve is produced to go 
with the ideal model, the drafting power being a nineteen 
inch (19) arm hole, and eighteen inch (18) in-seam (from 
the arm pit to the wrist). 



TO DRAFT. 

Square out and down from A. 

A to B is 1/12 arm scye. 

A to C is 1/3 arm scye. 

C to D is the in-seam length. (18). 

D to E is \y2 inches. 

F is half-way between C and D (the elbow). 

Square out lines B, C, F and E. 

Square back and forth from D, square back from C. 

C to Y is 1 inch 

(This point is the same as point Y in the draft of the sack 

coat, being the front sleeve notch.) 
From Y to Z is Yz arm scye, from the line squared up 

from B (this point, Z is the same as the Z on the 

coat drafts), representing the back sleeve notch, which 

should be J4 of the arm scye, from HI. 
A to H is ^ arm scye. 
B to I is 1/12 arm scye. 
Z to J is 1/12 arm scye. 
C to G is 1/6 arm scye, plus ^ of an inch. 
Rule a line from G to J. 
C to N, and D to P are each 1 inch. 
Rule a line from N to P (this will reduce the under sleeve, 

same amount of which will be added to the top sleeve) 
C to O and D to Q are each 1 inch. 
Rule a line from O to Q. 

D to M is the width at the hand, plus seams (6>{. inches.) 
K to L is % of an inch. 
Rule a line from L to M. 
Rule a line from D to M. 
Shape head of top sleeve from O thru Y, I, H and around 

to Z, coming up J4 of an inch at H as illustrated. 
R to S is J4 of an inch. 

Shape the in-seam of top sleeve from O thru S to Q. 
Shape the out-seam of top sleeve from Z thru L to M. 
.Shape under sleeve from N around to J, as illustrated. 
T to U is % of an inch. 

Shape the in-seam of under sleeve from N thru U to P. 
Shape out-seam of under sleeve from J to K allowing a seam 

at J, which completes the draft. 
For the half-and-half sleeve, shape as per dash lines, from 

Y to D, coming in % of an inch at F, and from Y 

around to N. 




76 



VARIATION OF SLEEVES 





SLEEVES FOR ERECT AND STOOPING FIGURES. 

In sleeves of this type, the balance Hne will be changed as 

shown by the dash and dot lines. 
The stipulated amount used for this variation is Vj inch, 

1 inch or 1 J/2 inches, for 1st. 2nd or 3rd degree. 

FOR ERECT. 

(Use the 2nd degree. 1 inch. ) 

First lay up the normal sleeve, then swing balance line from 

D to Dl. (1 inch.) 
Rule a line from C thru Dl and down, locating El. 
Square out from El. 
Dl to Ml is the width at the hand (6'/2 inches) on the 

line squared forward from El. 
Finish the balance of the sleeve in the regular way. 
This change is indicated by the large dash lines. 

FOR STOOPING. 

(Use the 2nd degree, 1 inch.) 

First lay up the normal sleeve ; then swing the balance line 

as from D to D2. (1 inch.) 
Then rule a line fron; C to D2, and down. 
Square out from E2, and finish the sleeve in the regular way 

from this line. 
This change is shown by the small dash li:-'."s. 



NARROW AND BROAD SHOULDERS. 

For the narrow shoulder, it is necessary for the sleeve 
head to have more length or depth, that is to say, what is 
taken off of the width of the shoulder should be added to 
the sleeve head. This change will be noted and followed 
out as indicated by the small dash lines. 

For broad shoulders, the sleeve head will require less 
depth. You will then reduce the depth of the sleeve the 
same amount you increased the width of the shoulder. This 
change is shown by the large dash lines. Give this your 
earnest attention, for this is very essential. It will have 
much to do with giving you a sleeve to properly fit the 
arm hole. 



77 




For winter wear generally, and for the intervals in spring and fall when winds of northern 
latitudes necessitate light weight wraps, different styles of overcoats are designed. For motoring 
and for evening, still other models find favor. Thus the well-dressed man today finds uses for several 
overcoats for different occasions where formerly a heavy coat for winter, and a lighter weight garment 
for spring and fall, were all that were considered necessary. 

In general two different types vie with each other for favor. The straight back box coat, and 
the frock or Chesterfield. Most styles in overcoats are a variation of one or the other of these two 
principle types. Occasionally a more or less freakish garment finds its way to favor, such as the raglan, 
but as a rule its reign is short, for men are conservative in matters of dress, and prefer to hold to 
standard styles. 

The Inverness, with cape, for evening wear, has much to recommend it, but it has a strong rival 
in the sack overcoat. First one and then the other comes into vogue, as the sack and frock divide 
honors for daytime wear. 

The belted box coat is graceful and becoming, and has had a decided vogue for several seasons. 
Novelties are adopted from time to time to embellish the somewhat severe plainness of the box coat, 
and will appeal especially to the taste of the young man. On the whole the box coat as being more 
simple holds its own better than any other style, but the Chesterfield has a dignity of its own, and 
will be worn at times by well-dressed men as the seasons come and go. 

The single-breasted frock overcoat is called a Newmarket, the double-breasted frock is the 
Surtout. 

The ulster is a long box coat. 
The covert coat takes its name from the material of which it is built, and is usually a short 
box overcoat for riding, driving, and general country wear. For a light, between season's wrap, it 
has no rival. 





79 



SINGLE AND DOUBLE BREASTED OVERCOAT. 
Medium Shaped Back. 

Measures. 

Breast 38 in. Seat 39 in. 

Waist 33 in. Height 5 ft. S in. 



Measures taken o\'er the vest, you will, therefore, 
allow three sizes when drafting so as to go over the 
sack coat underneath. The foundation is along the same 
lines as in the sack coat. 

TO DRAFT. 
Square out and down from A. 
A to B is one-third the breast measure (41 inches in this 

case). 
B to Bl is 2^54 inches. 
A to D is the length to waist, one-fourth of the height 

plus 1 inch (18 inches). 
A to E is the length to seat, one-third of the height plus 

2 inches (24 J4 inches). 
A to G is the full length, one-half of the height plus 8 

inches (42 inches). 
Square out lines Bl, D, E and G. 
Bl to H is one-third of the breast. 
H to I is one-fourth of the breast. 
I to T is 2 inches. 
H to HI is 1^ inches. 
Bl to J is one-half full breast. 
J to Jl is 2y2 inches. 
Square up and down from Jl. 
Square up from T. 
Square up from HI. 

Bl to the star is one-half the breast measure. 
Square up and down from the star which represents the 

balance line. 
Bl to C is one-fourth the breast measure plus J/ inch. 
Place corner of square on point T with long arm resting 

on C, square up from T locating F and AA. 
Rule a line from F to C, locating L. 
Rule a line from T to C locating K. 
A to M is one-sixth of the breast. 
Square up from M. 
M to Ml is 1 inch. 
Rule a line from Ml to L and out. 
F to AA is one-sixth the breast. 
Sweep forward from AA to 10 pivoting at F. 
Rule a line from 10 to Jl. 
10 to R is one-sixth the breast. 
Rule a line from 4 through R and out. 
X to Dl is one-half the waist measure. 
Square down from Dl locating El and Gl. 
Rule a line from C to Dl. 
El to N is one-third of the seat plus >^ inch. 
Rule a line from H through N and down locating O and 

6. 
A to Al is }i inch. 
L to LI is % inch. 

K to 5 is ^ inch, on line drawn from T to C. 
Shape top of back and shoulder from Al to Ml, Ml to 

LI. 
Shape back of arm hole from LI to 5 coming in '_j inch 

at 5. 
Shape side seam of back from 5 through O, N and down 

to 6. 



N to Nl is 23/2 inches. 

Rule a line from O to Nl down. 

T to Y is 1 inch. 

F to 9 is the sam.e distance as from Ml to LI minus 

yi of an inch. 
Shape arm liols of forepart from 7 to Y and from 9 to Y. 
Shape top of shoulder and neck hole from 9 to F and 

from F around through R and out. 
Sweep back from 6 to 8 pivoting at 5. 
Sweep forward from 8 through 11 pivoting at F. 
Shape side seam of forepart from 7 through O, Nl and 

down to 8. 
X to P is one-half the waist. 
P to PI is Syi inches. 

to 01 is :'',s of an incli. 

Shape front balance line from 10 through Jl, PI, Ql and 

down to 11 as indicated by dash line. 
Extend the button stand in front. 
From Jl to 13 is 2^4 inches. 
PI to 14 is 214 inches. 
12 to 15 is 2 inches. 
R to 3 is J4 inch. 

3 to 16 is 2^ inches. 

Shape up lapel and front from 3 to 16, 16 to 13, 14 and 

down to 15. 
11 to 12 is 1 inch. 

Shape bottom of forepart from 8 to 12 and out to 15. 
Place the top button 3j4 inches below breast line. 
Place the three buttons Gyi inches apart. 
Draw a line from T to 10 locating S. 
Rule a line from the top button through S and up. 
From T to 17 is 13 inches, or (1 inch more than in-seam 

of sleeve on the two-thirds of the square). 
17 to 18 is 3K' inches. 
17 to 19 is 33^ inches. 
Take out a J^ inch under arm cut as shown which finishes 

Single Breasted Overcoat Draft. 

Without the under arm cut, you would shape the 
side seam of the forepart and back of the arm hole as 
shown by dash lines leaving space between the back 
and forepart ji inch, thus deducting the two seams. 

For a Double Breasted Style, allowance for a but- 
ton stand as from Jl to 13, P'l to 14, 12 to 15 will be 
3j/2 inches, in place of 254 inches as shown by the dash 
lines. 
Rule a line from T through 3 and out, from 3 to 16 is 

3 inches. 
Re-shape front as shown bv the dash lines. 

COLLAR. 
From F to 1 is one-sixth of the breast plus '4 inch. 
Square back and forth from 1. 

1 to 2 is 1^ inches. 

2 to 3 is 2J4 inches. 

4 to 5 is 1% inches. 

Shape collar as illustrated from these numbers and if a 
double breasted collar add % inch extra as shown 
bv thf dash lines. 



SO 




81 



SINGLE BREASTED BOX BACK OVERCOAT. 



Measures. 
Over the Vest. 

Breast 37 in. Seat 38 in. 

Waist 32 in. Height 5 ft. 8 in. 

Regular Overcoat, Breast 40 in ; Waist 35 in ; Seat 41 in ; 
Enlarged 4 sizes, Breast 44 in; W'aist 39 in; Seat 45 in. 



TO DRAFT. 



In this draft you will refer to )'our Enlargement 
Diagrams No. 7 and No. 8. Length to the waist and 
the length to the seat is the same as in the regular 
Overcoat. 
From A to G is one-half the height plus 10 inches (44), 

for this draft. 
Square out lines Bl, D, E and G. 
Bl to H is one-third the regular breast. 
H to I is one-fourth the regular breast. 
I to T is 2 inches. 

T to TT is 1 inch, representing J4 inch for each size en- 
larged. 
Bl to HH is one-third the enlarged breast, representing 

1/6 inch for each size enlarged. 
HH to HI is iy2 inches. 
Bl to J is one-half the regular breast. 
J to JJ is 2 inches, representing yi inch for each size 

enlarged or (Bl to J J is one-half the enlarged 

breast). 
JJ to Jl is 2y2 inches. 
Square up and down from Jl. 
Square up from TT. 
Square up from HI. 
Bl to star is one-half breast. 
Square up and down from the star which represents the 

balance line. 
Bl to C is one-fourth the breast plus yi inch. 
C to CC is 1 inch, ^ inch for each size enlarged (same as 

from T to TT). 
Place corner of square on TT with lone 

on CC square up from TT locating F. 
Rule a line from TT to CC. 
Rule a line from F to C, locating L. 
HI to K is one-twelfth the regular breast. 
Square out from K. 
D to Dl is Yz inch. 
Rule a line from CC through Dl and down locating: 

Gl. 
Square out from Gl by line Dl, Gl, locating 6. 
HI to O is 1 inch. 
Rule a line from L through O and down locating N 

and 6. 



arm resting 



N to Nl is 5 inches. 

Rule a line from O through Nl and down. 

Sweep back from 6 to 8 pivoting at 5. 

Sweep forward from 8 to 11 pivoting at F. 

A to M is one-sixth the regular breast. 

Square up from M. 

M to Ml is 1 inch. 

Rule a line from Ml to L and out. 

A to Al is ji inch. 

L to LI is Y inch. 

K to 5 is ^ inches. 

Shape top and back of shoulder from A\ to Ml, Ml 

to LI. 
Shape back of arm hole from LI to 5 coming in J4 

inch at this point. 
Shape side seam of forepart from 5 to Nl as illustrated. 
F to AA is one-sixth the regular breast. 
Sweep forward from AA to 10 using F as a pivot. 
Rule a line from 10 to Jl. 

10 to R is one-sixth the regular breast. 
Rule a line from 4 through R and out. 
X to P is one-half the enlarged waist. 

P to PI is 334 inches. 

Q to Ql is -5^ inch. 

Shape front balance line from 10 through Jl. PI, Ql 

and down to 11 as indicated by the dot line. 
TT to Y is 1 inch. 
F to 9 is the same distance as from Ml to LI minus 

}i of an inch. 
Shape arm hole from 7 to Y and from 9 to Y. 
Shape top of shoulder and neck hole from 9 to F and 

from F around through R. 
Add 2y2 inch button stand as from ]l to 13, PI to 14, 12 

to 15. 

11 to 12 is 1 inch. 
R to 3 is ^ inches. 

3 to 16 is 2^ inches. 

Shape the lapel in front from 16 through 13, 14 and 15. 
Shape bottom of forepart from 8 through 12 to 15. 
Lay up the pockets and buttons as explained in the 
regular Overcoat. 



82 




83 



SINGLE AND DOUBLE-BREASTED FROCK OVERCOAT. 

Measures. 

Natural waist 17 in. Full length 42 in. 

Fashionable waist. . 18'/> in- Height 5 ft. 8 in. 

Over the vest. 

Breast 38 in. Seat 39 in. 

Waist 33 in. 

Over the coat. 

Breast 41 in. Seat 42 in. 

Waist 36 in. 



TO DRAFT. 

Square out and down from A. 

A to B is 1/3 breast. 

B to Bl is 2% inches. 

A to D is the natural waist. 

A to Dl is the fashionable waist. 

A to G is the full length. 

Square out lines Bl, D, Dl and G. 

Bl to H is 1/3 breast. 

H to I is J4 breast. 

I to T is 2 inches. 

Bl to J is >< full breast. 

J to Jl is 2y2 inches. 

Square up and down from Jl. 

Square up from T. 

H to HI is IK inches. 

Square up from HI. 

Bl to the star is J^ breast; square up and down from the 

star, which represents the balance line. 
Bl to C is J4 breast. 
Place corner of square on T, with the long arm resting on 

C; square up from T, locating F and AA. 
Rule a line from F to C. 
Rule a line from C to T. 
A to M is 1/6 breast. 
Square up from M. 
M to Ml is 1 inch. 
Rule a line from Ml to L and out. 
F to A A is 1/6 breast. 

Sweep forward from AA to 10, using F as a pivot. 
L to K is 3^ the breast. 
X to O is l'/2 inches. 
O to U is y2 the waist. 
The difference between U and D is suppression, and should 

be divided into four equal parts, as shown by 1.2 and 3. 
One-fourth of this amount is taken out for the center seam, 

as from D to 3. 
Rule a line from C to 3. 
Square down from 3, locating Gl. 
Rule a line from 3 to 19. 
3 to N is y% of the breast ; square up and down from this 

point, locating G2. 
A to Al is J4 inch. 
L to LI is 34 inch. 
Shape top of back from Al to Ml, Ml to LI, LI to K, K 

around through N and down. 
N to 6 is 2/4 of the suppression, the same distance as from 

1 to 3, square up and down from this point. 
6 to V is J4 waist. 
V to 8 is the remaining fourth of the suppression, the same 

amount as from U to 1. 
HI to W is 1/12 breast. 

Rule a line from W through the center of V and 8. 
T to Y is 1 inch always. 
Rule a line from K to Y. 
From K to 5 is ^ of an inch. 
W to 7 is Y\ of an inch. 

Shape side-body from 5 around to 6 and down. 
Shape from 5 around to 7 and from 7 through 8 and down. 



84 



f to F is the same distance as from Ml to LI, minus i^ of 

an inch. 
Shape front arm hole from 7 through Y, and from 9 to Y. 
X to P is I < the waist : P to PI is 3^^ inches. 
Shape front balance line from 10 through Jl, PI and down, 

as shown by the dash lines. 

10 to R is 1/6 breast. 

Rule a line from 4 through R and out. 

.Shape top of shoulder and neck hole from 9 to F, F around 
through R and out. 

to Ol is 1/6 breast. 
Rule a line from W to Ql. 

Shape side seam of fore part from 7 through V and down. 
Shape bottom of fore part from 34 inch below the waist 

line at A^l through Ql and out, as shown. 
Shape bottom of side body from 3/^ of an inch below 11 to 8. 
Square down from 11. 

11 to E is 1/3 the seat. 
Square back from E. 
E to El is 1/12 seat. 

Rule a line from 12 through El and down. 
Shape the top of skirt from 12 to Ql and out. 
J 1 to 13 is 1^ inches. 

01 to 14 is 1^ inches. 
R to 3 is Vi inch. 

3 to 16 is 2 inches. 

Shape lapel and front from 16 through 13 to 14. 

Rule a line from T to 10, locating S. 

Rule a line from the top button through S and up for the 

crease-line. 
I^pace the buttons as illustrated. 
Square down from 14 by the waist-line. 
14 to 21 is 9 inches. 
21 to 22 is 34 inch. 

Rule a line from 14 through 22 and down. 
From 12 to 23 is 34 inch more than Dl to G. 
14 to 18 is 1 inch less than 12 to 23. 
Rule a line from 23 to IS. 
El to l.S is Yi inch. 

Shape back of skirt from 12 through 15 to 23. 
Shape front of skirt from 14 to 18. 
Shape bottom of skirt from 23 to 18. 

Take out a V in the fore part, as illustrated, which com- 
pletes the draft of the Single-breasted Style. 

DOUBLE-BREASTED STYLE. 

The only difference is the separate revere and tht- ad- 
dition to the skirt in front. 

These lines are indicated by the dash and dot lines, 
with changes as follows : 
Rule a line from 01 to PI and up. 
Swee'^ forwprd from R to 3 using PI as a pivot. 
3 to 25 is 3'/> inches. 
26 to 27 is 4 inches. 
Ql to 28 is 3 inches. 

Shape from 16 to 25, 25 through 27 and down to 28. 
Make the addition to the skirt in the same manner as in the 

center breast, as shown from 28 down. 
Extend the crease-line, and space with 2 or 3 buttons. 
This completes the draft. 




85 



INVERNESS. 



Measures. 
Over the Vest. 

Breast 37 in. Seat 38 in. 

Waist 32 in. Height 5 ft. 8 in. 

Regular overcoat. .Breast, 40 in. ; Waist, 35 in. ; Seat, 41 in. 
Enlarged 4 sizes. .Breast, 44 in. ; Waist, 39 in. ; Seat, 45 in. 



The foundation of this draft is laid on the same 

lines as in the Box Overcoat with changes as follows : 

HI to O being % of an inch in place of 1 inch. 

In this garment, the back arm hole and side seam is one 
continuous line as from L through O and down to 6. 

From TT to 5 is 1J4 inches. 

Square back from 5. 

Shape the arm hole as from O around to 4 as illustrated. 

This will give a free and easy arm hole. 

The button stand of Iji inches is added to the front as from 
Rl to 16, Jl to 13, PI to 14, 11 to 15. 

TT to 17 is 13 inches. 

Square forward from 17. 

17 to 18 is 1% inches. 

Lay up a slash pocket from this point as illustrated. 

Place the 4 buttons 7 inches apart and finish front as illus- 
trated. 

CAPE. 

The cape is drafted over the coat and traced off on a separate 
piece of paper. 

Rule a line from L through B and out. 

From F through 9 and down to 22 is the length of the cape 
plus 1 inch. (The length of the cape as measured from 
the shoulder seam at the neck down to the length desired 
at the wrist crossing over the shoulder and down the 
arm). 

Sweep forward from 22 to 23 pivoting at F. 

23 to 24 is 1J4 inches. 



Take out a V in cape as illustrated in the regular arm hole. 

From 21 to Y is ^ inch more than from 9 to Y. (In sew- 
ing up the V, this extra amount should be held on full.) 

21 to 25 is ^ inches more than from L to O, as this part of 
the cape is joined together with the back as from L 
to O, the % inch extra is held on full. 

The rest of the cape should go on even from 25 to 26, down 
the side seam of the back as from O to 27 then the 
remaining length between 26 and 22 will be left open 
for vent. 

Shape the cape as from 22 to 24 and from R through Jl, 
PI and Ql, for an open front, but a button stand may 
be added in the regular way, if so desired. 

COLLAR. 
Measure the length from Al to All continue from F to R 

appl}' this amount from R to 4. 
Square out from 4 by line 4R. 

4 to 2 is 1>^ inches. 

2 to 3 is 1J4 inches. 

3 to 5 is 3 inches. 

5 to 6 is ^ of an inch. 
7 to 8 is 3 inches. 
Shape crease line from 

point as shown. 
Rule a line from TT through 7 and out. 
Shape stand from 2 around to 7 and from 3 to 6 and 6 to 

8 which finishes the collar as illustrated. 



to 7 coming over the shoulder 



86 




87 



RAGLAN OVERCOAT. 



Measures. 
Over the vest. 



Breast 37 in. Seat 38 in. 

Wait 32 in. Height 5 ft. 8 in. 

Regular overcoat. . Breast, 40 in. ; Waist, 35 in. ; Seat, 41 in. 
Enlarged 3 sizes. . Breast, 43 in. ; Waist, 38 in. ; Seat, 44 in. 



The foundation of this draft is laid on the same lines 
as in the box back overcoat, with changes as follows : 
Square back from Z. 
Z to Zl is ^ of an inch. 
Shape shoulder of back part, (coming in ^4 inch from Ml ), 

thru Zl to 5. 
TT to 2 is J^ inch. 
Square back from 2. 
Draw a line from 2 to F. 
F to 18 is 1/6 breast. 
18 to 19 is >4 inch. 
Reshape the arm-hole from 7 to the line squared back from 

2 around thru 19 to % inch below F as illustrated. 
Lay up the patch pockets, 7 inches wide, 8J4 inches deep 
as shown. 

SLEEVE. 
The regular overcoat size is used for drafting power. 
20 arm scye, 18 inseam. 

TO DRAFT. 
Square out and down from A. 
A to B is 1/12 arm scye. 
A to C is 1/3 arm scye. 
C to D is 1 inch. 
C to G is the inseam. 
G to H is lyz inch. 
C to F is J^ inseam. 
Square out line B, C, F, and H. 
Square back and forth from G. 
A to I is J/ arm scye. 
Square down from I. 
A to J is J4 arm scye. 
Rule a line from E to I, locating K. 
G to L is J4 the width of the cuff, plus >4 inch. 
C to O is 1 inch. 
C to P is 1 inch. 
G to R is 1 inch. 
G to S is 1 inch. 
Rule a line from O to R. 
Rule a line from P to S. 
Shape the inseam of under-sleeve from O to R. coming in 

34 inch at M. 
Shape inseam of top sleeve from P to S, coming in ^ of 

an inch at N. 
Shape under-sleeve from O around to K, coming out % 

inch at K and continue through Q and down to L. 
Shape out seam and top sleeve from 6 to Q. 
\J is yi way between F and Q. 
V is V2 way between G and L. 
Shape from J through LI and down to V as shown. 
Square up from J. 
J to 1 is the same distance as from LI to Ml on the back 

part of the draft ; this part being deducted from the 

back and added to the sleeve consequently should carry 

the same length. 
Sweep back and forth from 1, pivoting at J- 
Extend a line up from A. 

Measure the distance of the forepart as from Y to F. 
Place this amount plus 54 of an inch for fullness as from 

D to 2. 



2 to 3 is M of an inch, representing the seam taken off 
the back, and the two seams at this part. 

Rule a line from 3 to J. 

Measure the distance on the back from Ml to Zl. 

Place this amount plus ;54 of an inch from 6 to where it 
falls on the sweep line at 5 as shown. 




5 to 4 is ^ of an inch. 

Rule a line from 4 to J. 

C to CC is J/2 inch (same amount as from TT to 2 on the 

draft) square back and forth. 
Reshape the front top-sleeve from CC through D and up 

to 2 as shown. 
Shape from 3 through J and down to V, extending 3/g, of 

an inch at T, and 34 of an inch at V, as shown by the 

dash lines. 
Shape back part of top sleeve from 5 to 6, coming in }i of 

an inch from the straight line as shown. 
Shape from 4 to J down to V, extending 54 of an inch at T. 

and J4 of an inch at V, as shown by the dash lines. 
Shape tnider sleeve from CC to K. 




89 




DOUBLE-BREASTED ULSTER. 

Measures. 
Over the Vest. 

Breast 37 in. Seat 38 in. 

Waist 32 in. Height 5 ft. 3 in. 

Regular overcoat. .Breast, 40 in. •, Waist, 35 in. ; Seat, 41 in. 
Enlarged 3 sizes. . Breast, 43 in. ; Waist, 38 in. ; Seat, 44 in. 

The foundation of this draft is laid on the same 
lines as in the box-back overcoat, the difference being in 
the extension of the button stand. 
Jl to 13 is 4 inches. 
PI to 14 is 4 inches. 
12 to 15 is 4 inches. 
R to 3 is % of an inch. 
3 to 16 is 4 inches. 
Reshape the front as shown, taking out 34 inch V between 

R and 3. 



Lay up the buttons, the top button being Syi inches from 

the breast line, and then 5 inches apart. 
Place a 3-inch belt from the waist line up, as illustrated. 

THE COLLAR. 

This is a convertible collar. Extend a crease line from the 

top button through S and up. 
Sweep back from 2. 

2 to 3 is 134 inch. 

Shape crease-line from 3 through F to S. 

3 to 4 is 1 34 -inch collar stand. 

Shape from 4 around through S and R. 

3 to 5 is 34 inch. 

Rule a line from 5 to R. 

5 to 6 is 3 inches. 

R to 7 is 3 inches. 

Shape from 5 to 6, 6 to 7, 7 to R, and finish as illustrat'-d. 



90 




DOUBLE-BREASTED RIDING COAT 

Measurements as follows, over vest- 
Wa.st length 17 in. Waist ..;. 

^"" ^''^'' 38 in. Height ." : .'s 'ft 8 in 

-idd 1 inr'T""' '^'l^ ^ '""''"' '° ^-^I measurements. Further 
add 6 inches for enlargements. 



33 in. 
IQ in. 



All fundamental points are obtained in the same manner 
as for the regular enlarged coat. The special feature of 
this draft IS the splitting of the pattern at back and front 
bottom as shown in diagram, which gives the coat the flare 
that IS m confomiity with the style used for riding coats 
and box coats. 



91 




Full Evening Dress 




Present day styles in full dress for men are a far cry from the elaborate and effeminate 
costumes worn by the gentlemen of the courts of bygone days. The leisure enjoyed by the courtiers 
and noblemen of that time, and the gaiety and splendor of the social life in which they played a part, 
made possible and appropriate the quaint and elegant phantasies developed in the costumes of the 
period. 

The modern business man, on the other hand, turning for a brief space from the activities of 
his calling to the pleasures of the social hour, is more modest and conservative in his dress. Evolution 
of evening dress for gentlemen typifies in some sort the development of modern customs and ethics, 
illustrating again the principle of conformity of habit to the uses and personality of the individual. 

Masculine precision is apparent in the design of evening dress of the gentleman of today, who 
is willing to give attention to details sufficient to ensure propriety and elegance of costume, but who 
could not spare time for fanciful creations, even if the simple taste of the modern gentleman would 
permit of his wearing the silks and satins, the velvets and brocades, which were fashioned into such 
elaborate modes for the adornment of his ancestors. 

The foundation of the swallow tail is the cutaway, the skirts being shaped according to the form 
which has given it its name. The U-shape of the opening, the long lapels, the elegance and distinction 
of fit, fineness of finish and richness of material, all combine to give this garment a character that 
makes it acceptable as the appropriate dress for men for all formal social occasions after six o'clock 
at which women are present. 

Accessories to this costume include single-breasted white waistcoat of pique, linen or silk ; high 
silk hat, stiff white linen or pique shirt, with wing, poke or lapfront collar; white tie, white glace 
gloves, patent leather button shoes, or pumps for dancing; with pearl or moonstone links and studs. 



92 




93 



DRESS COAT. 

Measures as follows : 

Breast 38 in. Nat. waist length. . .16;/; in. 

Waist 33 in. Fash, waist length.. 18 in. 

Seat 39 in. Full length 39 in. 



TO DRAFT. 



Square out and down from A. 

A to B is 1/3 of the breast. 

B to Bl is 2^ inches. 

A to D is the natural waist length 

A to Dl is the fashionable waist length. 

A to G is the full length (^ height, plus 5 inches). 

Square out lines Bl, D, Dl and G. 

Bl to H is 1/3 breast. 

H to I is 34 breast. 

1 to T is 2 inches. 

Bl to J is >< full breast. 

J to Jl is 23X inches. 

Square up and down from Jl, square up from T. 

H to HI is ly2 inches. 

Square up from HI. 

Bl to the star is yi the breast. 

Square up and down from this point, which locates the bal- 
ance line. 

Bl to C is >4 of the breast. 

Place comer of square on point T, with long arm resting 
on C. Square up from T, locating F and AA. 

Rule a line from F to C, locating L. 

Rule a line from T to C. 

A to M is 1/6 breast, square up from Ml. 

M to Ml is 1 inch. 

Rule a line from Ml to L. 

X to O is 1 '2 inches. 

O to U is 5^ waist measure. 

The difference between U and D is suppression, which 
should be divided into four equal parts, as shown be- 
tween 1, 2 and 3. 

D to 3 is J4 of this amount for center seam. 

Square down from 3. 

Rule a line from C to 3, which completes the center seam. 

3 to N is J/^ of the breast. 

Square up and down from N. 

N to 6 is 2/4 of the suppression, as from 1 to 3. 

Square up and down from 6. 

6 to V is >4 of the waist. 

V to 8 is the remaining fourth of the suppression, as from 
U to I. 

HI to Wis 1/12 breast. 

L to K is J/^ breast. 

Rule a line from 3 to 19. 

A to Al is % of an inch. 

L to LI is 54 of an inch. 

Shape top of back and shoulder as from Al to Ml, Ml 
to LI. 

Shape from LI to K, and from K around to N, and down 
to G2, coming out J^ of an inch from the line squared 
down as illustrated, this completes the back. 

T to Y is 1 inch ; rule a line from K to Y. 

K to 5 is yk of an inch. 

Shape side-body from 5 around 6 and down. 

Shape from 5 to 7, and from 7 through W to 8 and down. 

Share side seam of fore part from 7 through W, to V and 
down. 



F to AA is 1/6 breast. 

Sweep forward from AA to 10, pivoting at F. 

Rule a line from 10 to Jl. 

10 to R is 1/6 breast. 
Rule a line from 4 to R. 

F to 9 is the same distance as from LI to Ml, minus 34 oi 

an inch. 
Shape arm hole of fore part from 7 around to Y, and up 

to 9. 
Shape top of shoulder and neck hole from 9 to F, and X 

around to R as illustrated. 
X to P is 3^ the waist. 
P to PI is 354 inches. 
PI to P2 is 34 of an inch. 
Shape the front balance line from 10 through Jl, P2 and 

down. 

to 01 is 1/6 of the breast. 

VI is 34 of 'in inch below the waist line. 
Rule a line from VI to 01. 

11 to 12 is }i of an inch. 

Shape bottom of side-body from 12 to 34 of an inch below 

the waist line at VI. 
Shape bottom of fore part from 34 of an inch below the 

waist line at VI to Ql. 
Rule a line from 01 through P2 and up. 
Sweep forward from R, pivoting at P2, locating 3. 
Rule a line from T through 3. 
3 to 16 is 2-}^ inches. 
[2 to 13 is 2-; 4 inches. 

01 to Q2 is 134 inches. 
Square out from Q2. 

02 to 14 is 154 inches. 

Shape front of the revere from 16 around through 13 to 14, 

as illustrated. 
Square down from 11. 

11 to E is 1/3 seat. 
Square back from E. 
E to El is 1/12 seat. 

Rule a line from 12 through El and down. 

12 to 23 is 3"^ inch more than from Dl to G. 
Square out from 23. 

Point 20 is 1/3 the distance between 12 and Ol. 

23 to 21 is the same distance as from Ql to 20. 

Rule a line from 21 to 20. 

01 to 17 is % of an inch. 

Shape ton of skirt from 12 through 20 to 17. 

Square down from 17. 

17 to 18 is L;4 inches. 

20 to 22 is 1^ inches. 

El to 15 is K- inch. 

Shape back of skirt from 12 through 15 and down to 23. 

Shape front of skirt from 18 around 22, and down to 21, 

as illustrated. 
Take a -'.^ inch V out in the fore part at 20 up toward the 

breast pocket as illustrated. 
Lay UD the collar in the regular manner, which completes 

the diagram. 



94 




95 



THE TUXEDO OR DINNER JACKET. 



It has been said that it is necessary to be well dressed in order to be unconscious of one's 
dress. Once the costume is properly completed, with all appointments appropriate and in conformity 
with good usage, one may forget oneself. A breach of good taste is to this extent an ethical error, 
that it subjects the unfortunate culprit to uncomplimentary comment, and makes him unpleasantly 
conspicuous. An understanding of the principles of correct costuming is essential to the well-bred 
gentleman. 

As good manners and propriety of demeanor are the outward manifestations of good breeding 
and refinement, good taste and good form in dress likewise mark the well-bred. Back of each law of 
etiquette that governs the deportment of the socially elect, stands a reason on which such law is 
based, which justifies and sometimes necessitates its promulgation, and ensures its continued observ- 
ance. The same applies to the canons of good form in dress. They are based on reasonable grounds, 
and have been developed according to logical principles. 

The conventional use of the Tuxedo or Dinner Jacket is to replace the swallow tail in the 
smoking or billiard room, after dinner when the ladies have retired. It is to be worn not as a sub- 
stitute for the evening coat, but for relaxation from the extreme formality of full dress, in the later 
hours of the evening. For wear at the theater, opera, balls, and formal dinners, it has never received 
the sanction of good usage. For these occasions propriety demands full evening costume for gentle- 
men. But this misuse of the Tuxedo is an error to which the man unaccustomed to move in fashionable 
circles is liable, and one which he must avoid if he would not come under the ban of the social censor. 

The original use of the garment was as a lounging sack, assumed for the easy intercourse of 
the after-dinner hours when men amused themselves apart. It has been conceded to be permissable 
to wear this coat at stag dinners and informal gatherings when men only were present. There is 
talk of extending the scope of use of this Jacket to include informal gatherings of both sexes. But to 
avoid a solecism it is advisable for the inexperienced man to keep well within the accepted conservative 
canon, which treats this jacket as a lounging sack. 

In its place the Tuxedo is well liked by men who appreciate comfort, and it will continue to 
fulfill its function as a relief from the severe formality of the swallow tail. 

The Tuxedo is usually developed in black, but may be of dark gray? and either a shawl or 
notched collar is suited to its easy, simple lines. Silk facings are used for lapels, collar and cuffs, 
and sometimes a link fastener replaces the button and buttonhole. The tie may be black, or of a color 
to match the waistcoat. The derby, or preferably the soft hat, may be worn with the dinner jacket, 
but never the silk or opera hat. 



96 




TUXEDO SACK COAT. 

Measures as follows : 

Breast 38 ir,. Seat 39 in. 

Waist 33 in. Height 5 ft. 8 in. 



TO DRAFT. 



All systematical points are gained in the same manner 
as in the Proportionate Sack Coat, (see Diagrams 1 and 2) 
with the necessary changes for style as follows : 
PI to 13 is about 2 inches below the waist line, for one but- 
ton style. 
13 to 14 is J4 of an inch. 
Rule the crease-line from S to 14. 
R to 3 is % of an inch. 
Rule a line from T to 3 and up. 



3 to 16 is lYz inches. 

12 to 15 is 3 inches. 

Shape lapel and front as from 3 to 16, 16 through 14 and 
down to 15 as illustrated, also take out the V between 
R and 3 down to J. 

Lay up the collar in the regular way. 

This coat may be suppressed a trifle extra through the sides, 
between Dl and O, to give more shape in the back. 

Lay up a hook vent of about 10 inches in length, which com- 
pletes the diagram. 



97 



CARRIAGE CAPE. 



Measures used as follows: Breast, 40; enlarged 
breast, 44 ; length to waist, 18 ; length to seat, 25 ; full 
length, 40. 



TO DRAFT. 



Square out and down from A. 

A to B is 1/3 breast plus 3 inches. 

A to C is length to waist. 

A to D is length to seat. 

A to E is full length of cape. 

Square out from B, C, D and E. 

B to G is ^ regular breast measure (plus SVj inches, and 

also 54 inch for each size enlarged, making 4y> inches 

in all). 
Square up from G. 

B to F is 1/3 enlarged breast plus 114 inches. 
Square up from F. 
G to W is 1/6 regular breast plus ^A inch, or % inch for 

each size of enlarged. 
Square up from W. 
B to I is '4 enlarged breast. 
I to J is 2^4 inches. 
Square down from J. 
X to O is 1/6 breast measure. 
Shape from Q to J- 
H to K is 1 inch. 

Rule a line from K through F and down. 
A to M is 1/6 regular breast. 
M to L is j^ inch. 
Rule a line from L to I. 
Shape back as shown from A to L, L to N, N to F, U and 

down, extending 2 inches outside of dash line for flare 

in cape. 
T to S is 1 inch. 

Rule a line from S through G and down. 
Q to R is 1/6 regular breast. 
Shape neck hole from X through R. 
Rule a line from X to N. 



X to O is >4 inch less than L to N. 

Shape shoulder from ( ) to X, and from (j through G, 

V and down, extending 2 inches outside of dash line 

as shown at point 11. 
G to 3 is ^ regular breast on the divisions. 

2 to 3 is J^ regular breast on the divisions plus 14 inch. 
Square out from 2 and 3. 

3 to 4 is J^ regular breast on the divisions. 
V to Y is 2^ inches. 

Rule a line from G through Y and down. 

F to 6 is 1% inches. 

Square out from 6. 

6 to 5 i.= 7 inches. 

Rule a line from 5 through C and down. 

Shape from G through N, 4, 5 and down, extending 2 
inches outside of dash line, as shown at point 13. Also 
shape from G and down extending 2 inches outside of 
dash line as shown at point 12. 

5 to 13 is same length as 6 to 10. 

Sweep forward from 13, using N as pivot 

G to 11 is same distance as G to 12. 

Sweep forward from 11, using X as pivot. 

Shape bottom of fore part from 11, extending 1 inch below 
point 14. 

Add a button stand of 2 inches to the front all the way 
down. 

Place socket and opening as shown in front seam. 

The collar is a standing collar — same as for a military coat. 
Draft same as shown, allowing a stand of 2 inches 
from 7 and 8 and R to 9. The lower line representing 
the leaf or turn-over collar, which is 'X inch wider 
than stand. This completes the diagram. 



98 




Carriage Cape 



99 





TaLble of ProportionaLte Mea.sures from 


Height a.nd Circumference 




Breast 




5-4 


5-5 


5-6 


6-7 


5-8 


5-9 


5-10 


5-11 


6 ft. 


Blade 


Front 
Measure 


Width 
of Back 


Waisu 


32 


Depth of Scye. . . 
Strap 


7H 
1014 
15 
18 


7% 
10% 
15% 
18% 


8 
10% 
15% 
18% 


8% 
10% 
15% 
18% 


8% 
11 

15% 
19 


8% 
11% 
15% 
19% 


8% 
11% 
16 

19% 


11% 
16% 
19% 


8% 
11% 
16% 
20 


10 


6 


6% 






Over-shoulder. . . 
Length of Sleeve. 


27 


33 


Depth of Scye. . . 
Strap 


8 
lOM- 

15% 
17H 


8% 
10% 
15% 
18 


8% 
11 

15% 
18% 


8% 
11% 
15% 
18% 


8\i 
11% 
16 
18% 


8% 
11% 
16% 
19 


8% 
11% 
16% 
19% 


8% 
11% 
16% 
19% 


9 

113% 

16% 
19% 


10% 


6% 


6% 


28 




Over-shoulder. . . 
Length of Sleeve. 


34 


Depth of Scye. . . 
Strap 


11 

15^ 

17^ 


8% 
11% 
15% 
17% 


8% 
11% 
16 
18% 


8% 
11% 
16% 
18% 


8% 
11% 
16% 
18% 


8% 
11% 
16% 
18% 


8% 
11% 
16% 
19% 


9 

11% 
16% 
19% 


9% 
12 

17% 
19% 


10% 


6% 


6% 






Over-shoulder. . . 
Length of Sleeve. 




35 


Depth of Scye. . . 
Strap 


8% 
17% 


8% 
11% 
16 

17% 


8% 
11% 
16% 

17% 


8% 
11% 
16% 
18% 


8% 
11% 
16% 
18% 


9 

11% 
16% 
18% 


9% 
12 
17 

18% 


9% 

12% 
17% 
19% 


9% 
12% 
17% 
19% 


10% 


6% 


6% 






Over-shoulder. . . 
Length of Sleeve. 




36 


Depth of Scye. . . 
Strap 


11^ 

16^ 
17M 


8% 
11% 
16% 
17% 


8'% 
11% 
16% 
17% 


8% 
11% 
16% 
18 


9 
12 
17 
18% 


9% 
12% 
17% 
18% 


9% 
12% 

17% 
18% 


9% 
12% 
17% 
19 


91% 
12% 
17% 
19% 


11 


7 


7 






Over-shoulder . . 
Length of Sleeve. 




37 


Depth of Scye. . . 
Strap 


'8H 

11% 
16% 
17 


8% 
11% 
16% 
17% 


8% 
12 
17 

17% 


9 

12% 
17% 
17% 


9% 
12% 
17% 
18 


9% 
12% 
17% 
18% 


. 9% 

12% 
17% 
18% 


•9% 

12% 
17% 
18% 


9% 
12% 
18% 
19 


11% 


7% 


7% 






Over-shoulder. . . 
Length of Sleeve.' 


32 


38 


Depth of Scye. . . 
Strap 


8% 
12 

16% 
16% 


9 

12% 

17 

17% 


9% 
12% 
17% 
17% 


9% 

12% 
17% 
17% 


9% 
12% 
17% 
17% 


9% 

12% 
17% 
18% 


9% 
12% 
18 

18% 


9% 

12% 
18% 
18% 


9% 
13 

18% 
18% 


11% 


7% 


7% 






Over-shoulder . . . 
Length of Sleeve. 




39 


Depth of Scye. . . 
Strap 


9 

12^ 
I7ii 
16% 


9% 
12% 
17% 
16% 


9% 

12% 
17% 
17% 


9% 
12% 
17% 
17% 


9% 
12% 
18 
17% 


9% 
12% 
18% 

17% 


9% 
13 

18% 
18% 


9% 

13/8 

18% 
18% 


10 

13% 
18% 
18% 


11% 


7% 


7% 






Over-shoulder. . . 
Length of Sleeve. 




40 


Depth of Scye. . . 


9% 

12% 
17% 
16% 


9% 
12% 
17% 
16% 


9% 
12% 
18 
17 


9% 
12% 
18% 
17% 


9% 
13 

18% 
17% 


9% 
13% 
18% 
17% 


10 
13% 

18% 
18 


10% 
13% 
18% 
18% 


10% 
13% 
19% 
18% 


12 


8 


7% 






Over-shoulder. . . 
Length of Sleeve. 


35 


41 


Depth of Scye. . . 
Strap 


9% 
1234 
17% 
16% 


9% 
12% 
18 
16% 


9% 
13 

18% 
16% 


9% 
13% 
18% 
17 


9% 
13% 
18% 
17% 


10 

13% 

18% 
17% 


10% 
13% 
19 

17% 


10% 

13% 
19}-^ 
18 


10% 
133% 
19% 

187/s 


12% 


8% 


7% 






Over-shoulder. . . 
Length of Sleeve. 


36 


42 


Depth of Scye. . . 

Strap 

Over-shoulder. . . 
Length of Sleeve. 


9% 
13 

18% 
16% 


9% 
13% 
18% 
16% 


9% 
13% 
18% 
16% 


10 

13% 
18% 
16% 


10% 
13% 
19 
17% 


10% 
13% 
19% 

17% 


10% 
13% 

19% 
17% 


10% 

13% 
19% 

17% 


10% 
14 

19% 
18% 


12% 


8% 


8% 


37 


43 


Depth of Scye. . . 
Strap 


9% 
13% 

.18% 
15% 


9% 
13% 
18% 
16% 


10 

13% 
18% 
16% 


10% 
13% 
19 

16% 


10% 
13% 
19% 
16% 


10% 
13% 
19% 
17% 


10% 
13% 
19% 

17% 


10% 

14 

193% 

17% 


10% 
14% 
19% 
17% 


12% 


8% 


8% 






Over-shoulder . . 
Length of Sleeve. 




44 


Depth of Scye. . . 


13% 

is% 

15% 


10 

13% 
18% 
16 ■ 


10% 
13% 
19 
16% 


10% 
13% 
19% 
16% 


10% 
13% 
19% 
16% 


10% 
14 

19% 
17 


10% 
14% 
19% 
17% 


103% 

14% 
19% 
17% 


10.% 
14% 
20% 
17% 


13 


9 


8% 




) 


Over-shoulder. . . 
Length of Sleeve. 




45 


Depth of Scye. . . 
Strap 


10 

13% 
18% 
15% 


10% 
13% 
19 

15% 


10% 
13% 
19% 
16 


10% 
13% 
19% 
16% 


10% 

14 

19% 

16% 


10% 
14% 
19% 
16% 


10% 
14% 
19% 
17 


10% 
14% 
20% 
17% 


11 

14% 
20% 
17% 


,13% 


9% 


8% 






Over-shoulder. . . 
Length of Sleeve. 




46 


Depth of Scye. . . 


10% 
13% 
19 

15% 


10% 
13% 
19% 

15% 


10% 

14 

19% 

15% 


10% 

14% 
19% 
16% 


10% 
14% 
19% 
16% 


10% 

14% 
19% 
16% 


10% 
14% 
20% 
16% 


11 

14% 
20% 
17% 


11% 
143% 
20% 
17% 


13% 


9% 


8% 






Over-shoulder. . . 
Length of Sleeve. 




47 


Depth of Scye. . 
Strap 


10% 
13% 
19% 
15% 


10% 
14 

19% 
15% 


10% 
14% 
19% 
15% 


10% 
14% 
19% 
15% 


10% 
14% 
20 
16% 


10% 
14% 
20% 
16% 


11 

14% 
20% 
16% 


11% 
14% 
20% 
16% 


11% 

14% 

17% 


13% 


93% 


9 






Over-shoulder. . . 
Length of Sleeve. 




48 


Depth of Scye. . . 
Strap 


10% 
14 

19% 
15_ 


10% 
14% 
19% 
15% 


10% 
14% 
19% 
15% 


10% 

143/8 

19% 
15U 


10% 
14% 
20% 
16 


11 

14% 
20% 
16% 


11% 
1434 
20% 
16% 


11% 
14% 
20% 
163^ 


113^ 
15 

20% 
17 


14 


10 


9% 






Over-shoulder . . . 
Length of Sleeve. 





100 



Copyiighl. 1916, by F. T. Croonborg 




Efficiency is the slogan of twentieth century industry. It is the shibboleth that admits to 
advancement. Its influx spurs to constant striving after higher attainment. Its name implies the 
diligent exercise of our faculties, and predicates a strong foundation of preparation, with a solid 
superstructure of concentration of thought, energy and labor. It is comparative growing toward 
superlative. 

System implies efficiency, and is an indispensible concommitant of excellence. A system is 
efficient in the degree that it attains a specified object with greater success than it can be achieved by 
other means. 

In practical application that system will be found most valuable which establishes its tenets upon 
fundamental principles, from which logical and reliable deductions can be drawn. And this postulate 
defines efficiency. 

A system of Tailoring to be adequate to equip students to meet the demands of modern com- 
petition must be capable of producing results commensurate with the most exacting, present-day 
requirements. 

Students will doubtless note that some of the theories propounded in this volume correspond 
with their own observations. 

In other instances my methods will be found to be in direct conflict with practices long taught, 
and with accepted beliefs. This inconsistency of new discoveries with outworn hypotheses is the 
history of every science, and characteristic of the development of every industry. It is a matter of 
record that the first steamboat that crossed the Atlantic carried as a part of its cargo the first (and 
only) edition of a treatise which demonstrated logically the impossibility of propelling vessels upon 
the water by means of steam as motive power. 

Fallacious theories will always confuse and disappoint. Correct technique alone can demon- 
strate efficiency. Facts and results speak a language that we all understand. 

The New Supreme System proves its worth by its works. We do not ask you to take it on 
faith. 

Standardization of measurements of innumerable subjects has provided us with tables showing 
normal proportions for different sizes. We have learned that there is a fixed relation between certain 
proportions which enables us to calculate the measuretrents of a figure, given the height and weight, 
to a nicety. A table of standard measurements, based upon the ideal, furnishes us with a scale of 
relative increases and decreases, from which we can compute the dimensions of every subject. Devia 



101 



tion from the normal, established by these comparisons, constitutes deformation. A system of Tailoring 
must make available for practical use in the most direct manner the classified measurements of 
graduated models. It must show how to treat variations from the normal standard successfully, by 
adapting from the ideal to the exigency of the deformation according to its degree, for the grading of 
deformations as well as normal proportions is an essential component part of system. 

Starting places for computation of measurements may be termed the normal points. These 
points will serve as pivots from which to obtain proportions for subjects of every type and size. It 
has been proved by comparison and logical deduction that there is a fixed relation between the several 
dimensions of the figure, which can be computed with sufficient accuracy for practical purposes by 
these ratios. 

A table showing these ratios therefore provides you with data upon which you can place implicit 
reliance. By reference to such a tabulation you may spare yourself infinite trouble in making computa- 
tions, and the time thus saved can be turned to profitable account for yourself. Also the garments 
built upon this system can be safely counted upon to present graceful and symmetrical lines and 
proportions, and to fit scientifically the figure for which they are designed, which clothes made from 
direct measurements can never be relied upon to do. 

By application of the same principles you are enabled to determine the probable disposition of 
excess over normal. For instance the length of the back determines whether there is to be a straight 
or crooked shoulder, also a stooping figure presupposes generally speaking, a round back. 

Measurements that do not conform to standards do not stagger or confuse the student who has 
mastered the principles established by the New Supreme System, and learned how to apply them in 
laying up his patterns. If weight is excessive in relation to height, he will be able to determine with 
scientific accuracy where to allow for the surplus. In case of underweight he will know how to build 
a garment of symmetrical proportions to dissemble this deficiency, producing a graceful and harmon- 
ious outline. 

He is a master of technique, because he has learned the relation of cause and effect, and because 
he knows how to base his operations upon demonstrable principles. His understanding of funda- 
mentals enables him to make his head save his hands. He economizes his forces, and increases his 
output, because the right way is always the easiest way, and the speediest way. In short he makes 
good, and proves to the satisfaction of his clientele the superiority of Custom Tailoring over other 
systems. Making good is efficiency demonstrated. 



102 



VESTS. 





Proportiona.te Front Length for Vests from Height and Circumference 



Breast. 


5-4 


5-5 


5-6 


5-7 


5-8 


5-9 


5-10 


5-11 


6 ft. 


32 


23 
23i 
23^ 
23} 

24 
241 
24h 
24J 
25 
.251 
25i 
25i 
26 
26i 
26§ 
26f 
27 • 


23i 

23* 

23f 

24 

24i 

24 i 

24i 

25 

25i 

25* 

25} 

26 

26i 

26^ 

26} 

27 

27i 


23^ 

23} 

24 

24i 

24* 

24} 

25 

25i 

25^ 

25} 

26 

26i 

26^ 

26} 

27 

271 

27* 


23} 

24 

241 

24i 

24} 

25 

251 

25* 

25} 

26 

261 

26* 

26} 

27 

271 

27* 

27} 


24 

241 
24i 
24} 
25 
'251 
25^ 
25} 
26 
261 
26J 
26} 
27 
271 
27^ 
27} 
28 


241 
24* 

24} 
25 

251 

25^ 

25} 

26 

261 

26* 

26} 

27 

271 

274 

27} 

28 

281 


24i 
24} 
25 
251 

25* 

25} 

26 

261 

26^ 

26} 

27 

271 

27* 

27} 

28 

281 

28* 


24} 
25 
251 
25^ 

25} 

26 

261 

26* 

26} 

27 

271 

27^ 

27} 

28 

281 

28i 

28} 


25 


33 


251 


34 


25^ 


35 


25} 


36 


26 - 


37 


261 


38 . . ; 


26* 


39 


26} 


40 


27 


41 


27 


42 


27^ 


43 


27} 


44 


28 


45 .... 


281 


46 


28^ 


47 


28} 


48 


29 






Proportionate Waist Length 
of Vests 


16 


161- 


16* 


16J 


17 


171 


17* 


17} 


18 



103 




In studying these directions for taking measurements for vests, the student is advised to 
refer constantly to the illustration on the opposite page, which will serve as a guide to proper pro- 
cedure. 

Measurements for vest should be entered in the order book as follows: 

Opening Breast 

Full length Waist 

Length to side 

It is necessary to know the height and weight of your subject in order to check up measure- 
ments of waist, breast, and depth of scye with proportions tabulated for different sizes. 

Assuming, then, that you have ascertained the style of vest your client prefers, place him 
in the proper standing position, smooth down the vest he is wearing, and take measurements as 
follows : 

1. Measure for actual opening from A on back view to E on front view (see illustration). 

2. Measure for full length of vest from A on back view to F on front view. 

3. Measure to side from A on back view to G on front view. 

4. Measure around breast, as shown in front view, drawing the tape closely. 

5. Measure around waist, as shown in front view, drawing the tape closely. 

You will need to observe carefully any variations from the normal proportions on the part of 
your subject, and allow for attitudes and deformations, should there be any. 

To obtain short and direct measures, such as depth of scye, waist length, blade, strap over 
shoulder and front measure, see Third Section of Measurements. 




104 




105 



PROPORTIONATE VEST. 



Measures as follows. 

Breast 38 in. Opening 12 in. 

Waist 33 in. Side 22"^ in. 

Length 17 in. Full length 26 in. 



TO DRAFT. 



Square out and down from A. 

A to B is 1/3 the breast. 

B to Bl is 2^ inches. 

A to D is J4 the height (17 inches). 

D to E is 3 inches 

Square out lines Bl, D and E. 

Bl to H is 1/3 breast. 

H to I is >^ breast. 

I to T is 1% inches. 

Bl to J is i^ breast. 

J to Jl is 254 inches, square out and down from Jl. 

H to HI is V/i inches. 

Square up from HI. 

Square up from T. 

Bl to the star is K' breast, square up and down from this 
point for the balance line. 

Bl to C is >4 breast. 

Place corner of square on point T, with the long arm rest- 
ing on C. 

Square up from T, locating F and AA. 

Rule a line from F to C. 

Rule a line from T to C. 

A to M is 1/6 breast, square up from M. 

M to Ml is 1 inch. 

Rule a line from Ml to L. 

L to LI is 1^ inches 

M to 7 is 1 inch. 

Rule a Hne from 7 to HI, locating 8. 

T to V is 1 inch, square up from V, locating Y. 

A to Al is 54 inch. 

Shape top of back from Al to Ml, Ml to LI, shape from 
LI through 8 to U, coming down J/ inch below the 
breast line. 

F to 9 is the same distance as from Ml to LI, minus 54 
inch. 

F to 6 is .)4 inch. 

Rule a line from J through 6 and up. 

F to AA is 1/6 breast. 

Sweep from A A to 10, pivoting at F. 



Sweep back from AA to 11, pivoting at F. 

Shape front of arm hole from U around through Y and 

up to 9. 
X to Dl is 5/2 the normal waist, always. 
Dl to X is J4 the waist. This point in the normal draft 

will fall on X, but in the small waisted or large waisted 

subject it will have a different effect, as will be noticed 

later. 
X to P is 5^ of the waist. 
P to PI is 354 inches. 
PI to O is 5^ of the waist. 

to R is 1 inch. 
X to O is 1 inch. 

1 to U is 34 inch. 

E to 2 is J4 of an inch. 

Shape center seam of back part from Al through C to Dl 

and down. 
Shape side seam of back part from U through O and down, 

locating 3. 
Shape side seam of front part from U through R and down, 

locating 4. 
PI to S is 7 inches, square back from .S. 
Shape front balance line from 10 through Jl, PI and down, 

coming inside S 5^ inch. 
.S to 5 is 2 inches 
Shape bottom of back part from 2 to 3, and bottom of fore 

part from 4 to 5. 
Rule a line from F to Jl, and shape front from 11 through 

6 to Jl, and down through PI and around to 5, as illus- 
trated. 
Extend a one-inch neck piece from F to 11, as shown. 
Lav up the pockets, and extend the button stand J4 of ^n 

inch to the front, as shown by the dash lines, which 

finishes the diagram. 
Check measures, 11 through F to Jl is the opening, plus 1 

inch. 
11 through F to 4 is the length to the side, plus 1 inch. 
11 through F to 5 is the full length, plus XYi inches. 



106 




107 



SMALL WAISTED VEST. 



Breast 



Measures. 
.38 in. Waist 



,30 in. 



TO DRAFT. 
First lay up the draft along the same lines as the Pro- 
portionate Vest, the only difference being in the waist, 
which is 3 inches under proportion. 
X to Dl is y2 of the normal waist. 

X to D2 is y2 of the small waist (30 inches). 

Divide the difference between Dl and D2 into two equal 

parts. 
Dl to D3 is Yi of this amount. 

Reshape the center seam from C through D3 and down. 
D3 to XI is Yi the small waist (30 inches). 

XI to O is 1 inch. 

X to P is J^ of the small waist. 

P to PI is 3K' inches. 

P2 is on the line squared down from Jl. 

PI to Q is J^ of the small waist. 

Q to R is 1 inch. 

Shape side seams of back part from U through O and 
down. 

Shape side seam of fore part from U through R and down. 

Finish the balance of the vest in the regular manner as be- 
fore described. 

The difference between PI and P2 will be taken out in a V, 
about in the center of the lower pocket, as illustrated. 

If a V is objected to, then this difference between PI and 
P2 should be taken out equally at O and R. 



FOUR BUTTON DOUBLE-BREASTED STYLE. 
This style is shown by the dash and dot lines. 
I'rom S to 13 is % of an inch. 
Square out from 13. 

13 to 14 is \y^ inches for the lower button. 

14 to 15, 15 to 16, 16 to 17 are each 2^ inches; distance 

between the buttons ; square back and forth from these 

lines. 
17 to 18 is iy2 inches. 
13 to 19 is 2 inches. 
Place the buttons back from the center line -)4 of an inch 

less than what is added to the front, and reshape the 

front, as shown by the dash and dot lines. 

DOUBLE-BREASTED STYLE. FIVE BUTTONS. 
This style is shown by the small dot line. 
PI to 20 is 3 inches below the waist line. 
20 to 21 is ->4 of an inch. 
Space the buttons 3 inches apart, bringing the top button 

up to point 17. 
5 to 22 is 1 inch. 
17 to 18 is Z]/2 inches. 
Reshape the front of the vest from 18 through 21 to 22, 

and from 4 to 22, as shown by the small dot lines. 
The lower button is in the center, there being three button* 

on one side and two on the other. 



108 




' -n 



10^ 



NOTCH COLLAR VEST FOR STOUT FIGURE 



Measures as follows : 

Breast 48 inches Length to side 23 }4 in. 

Waist 52 inches Full length 28 in. 

Length to opening. .14^ in. 

The difference in this draft being that the waist is 
four sizes larger than the breast and nine sizes over propor- 
tion in the waist. (See corpulent sack coat, page 36.) 

TO DRAFT. 

Square out and down from A. 

A to 48 is 1/3 breast, inasmuch as 42 is the stipulated point 

in the regular grade, size 42 is taken in consideration. 
A to 42 is 1/3 of size 42 breast. 
Point B is between 42 and 48. 
B to Bl is 2% inches. 

A to D is the waist length, J4 of the height. (17 inches.) 
D to E is 3 inches. 
Square out lines Bl, D and E. 
Bl to H is 1/3 the breast. 
H to I is 54 breast. 
I to T is l}i inches. 
Bl to J is >4 full breast. 
J to Jl is 2)4 inches. 
Square up and down from Jl. 
Square up from T. 
H to HI is 1>4 inches. 
Square up from HI. 
Bl to CI is 54 of 42 breast. 
Bl toC2is 34 of 48 breast. 
C i.s between CI and C2. 
Place corner of square on T, with the long arm resting on 

C, square up from T, locating F. 
Rule a line from F to T. 
Rule a line from T to C. 
A to M is 1/6 breast. 
Square up from M. 
M to Ml is 1 inch. 
Rule a line from Ml to L. 
L to LI is 134 inches. 
A to Al is % inch. 
M to 7 is 154 inches. 
Rule a line from 7 to HI, locating 8. 
I to U is J4 inch. 

Shape top of back from Al to Ml, Ml to LI. 
Shape arm hole of back part from LI around thru H, to 

U, coming down 34 inch below the breast line as 

illustrated. 
X toP is y2 the waist. 
PtoPl is3>4 inches. 
PI to P2 is 34 inch, representing 34 of an inch extra for 

each inch the waist is larger than the breast. 
Square down from P2. 
Rule a line from Jl to P2. 
P2 to Q is 34 of "the waist. 



Q to R is 1 inch. 

X to Dl is y2 normal waist always. (43 inches.) 

X to D2 is 34 of the large waist. (52 inches.) 

D2 to D3 is 3-2 inch, (representing the extra amount allowed 
to the front of the waist, which will be deducted here.) 

The difference between Dl and D3 is divided into two 
equal parts. 

Dl to D4 is 34 of this amount. 

Shape center seam from Al thru C to D4, and down. 

D4 to XI is yi waist measure. (52 inches.) 

XI to O is 1 inch. 

Shape side seam of back part from U thru O and down. 

E to 2 is ^ of an inch. 

Shape bottom of back part from 2 to 3, coming down below 
the line 34 of an inch. 

P2 to S is 7 inches, square back from S. 

S to 5 is 2 inches. 

F to AA is 1/6 breast. 

Square back from A A to 10 using F as a pivot. 

Rule a line from 10 to Jl. 

Shape front center line from 10 to P2 and down to 5, com- 
ing out over Jl a trifle so as to straighten the line for 
better shape ; note the amount that the breast size is 
increased as from Jl to J2, which increases the size. 

This amount will be taken out between the side seam and 
arm hole. 

T to V is 1 inch. 

Square up from V, locating Y. 

F to 9 is the same distance as from Ml to LI, minus ^4 
inch. 

F to 6 is ^ of an inch. 

Shape the regular arm hole of the fore part from U around 
thru Y, and up to 9 ; this is indicated by the small dash 
line. 

V to VI is the same amount as filled in at the front of 
breast from Jl to J2. 

Square up from VI. 

U to Ul is also the same distance as from Jl to J2. 

Reduce the shoulder-seam from 9 to 12, the same amount 
as from Jl to J2 as well. 

Reshape the side seam from Ul thru R and down to 4. 

Shape bottom of fore-part from 4 to 5 as illustrated. 

Reshape the arm hole from Ul around thru Yl, and up to 

12 as shown by the solid lines. 
Rule a line from F to J2. 

Shape front of vest from 6 to J2, J2 thru P2 and down 

to 5. 
Lay up the pockets, and place the corner of square on point 

13 on the line of the pocket. 
Square down from 13, locating 15. 

Split the pocket from 14 to 13, and plait over at 15, so as 
to open a V at 14 to the amount of I34 inches, repre- 
senting % of an inch for each inch the waist is over- 
proportion. 
Lay up the collar and extend the button stand which com- 
pletes the draft. 



no 




Ill 



VARIATIONS ON VESTS 




STOOPING AND ERECT. 

Lay up the vest in the regular manner, following the same 
principal as the Proportionate Vest, using the same 
size. 

STOOPING. 

The Stooping attitude is indicated by the small dash lines. 

Stipulate the degree of variation by 14. ", or ;Kl of an 
inch, for the 1st, 2nd or 3rd degree. , 

This is followed out in the same manner as is displayed 
in the sack coat. (See Diagram A, Variations.) 

Though these variations may seem complicated to the eye, 
they are very simple in actual practice. The main thing 
is to gain the proper balance by changing the breast line 
from Bl thru the star, either above Bl for Erect, or 
below Bl for Stooping. Then all lines and points will 
be squared down in the regular way from this line 
and followed the same as in the normal draft. The 
small dash lines indicate the Stooping attitude, and 
the dash and dot lines indicate the Erect attitude. Use 
the second degree. (14 inch.) 

Bl to B2 is V2 inch. 

Rule a line from B2 thru the star and out. 

Place corner of square on B2 with the short arm resting 
on the star. 

Square down from B2, locating E2. 

1)1 to D2 is 1/2 inch. (The same as from Bl to B2). 

I'', to El is V2 inch, (the same as from Bl to B2). 

Square out from D2 and El, bv the line squared down 
from B2. 



Place corner of the square on the star, with the short arm 
resting on B2, square down from the star locating XI. 

Square down from the front of the breast by the line 
ruled from B2 thru the star and out as indicated by the 
small dash line. 

XI to D3 is 14 of the waist. 

Reshape the center seam from A thru D3 and down, com- 
ing out a trifle over C, as shown by the dash lines. 

XI to P2 is yi of the waist. 

P2 to P3 is 3:^ inches. 

P3 to SI is 7 inches. 

Reshape the front as illustrated from Jl to P3 and down. 

P3 to Ql is '2 of the waist. 

Ql to Rl is 1 inch. 

Shape the side seam of fore part from U thni Rl and 
down. 

Shape the bottom of fore part in the regular way. 

D3 to XI is y2 of the waist. 

XI to 01 is 1 inch. 

Shape side seam of back part from U thru Ol and down. 

Shape bottom of fore part in the regular way, which com- 
pletes the Stooping Figure, of which all lines are in- 
dicated by the small dashes. 

ERECT. 

The Erect figure is followed along the same lines and 
principals ps that of the Stooping figure, but worked in 
just the other way, or vice-versa. 

This attitude will be indicated by the dash and dot lines. 
Study this over carefully. 



112 



VARIATIONS ON VEST 




LARGE AND SMALL BLADES. 

These changes will be found in the same manner as ex- 
plained in the sack coat; Large and Small Blades, (see 
page 60) using the same principals (2nd degree, lA 
inch.) 

This diagram fairly explains itself. The dash and dot lines 
indicate the Large Blade. The changes necessary along 
the normal draft would be T to Tl is lA inch. 

Rule a line from Tl up, parallel with the line TF. 

Tl to VI is 1 inch. 

Square up from VI, locating Yl. 

This will advance the arm hole of the vest Yz inch. 

It is understood that the shoulder point from T to F should 
not be disturbed in either case of Large or Small 
Blades. 

HI to H2 is K' inch. 

Square up from H2. 

Point L and LI will be located on this line in the same man- 
ner as in the normal draft. 

Rule a line from 7 to H2, which will advance point 8, then 
re-measure the back shoulder, and make the front 
shoulder ^ of an inch less, and reshape the arm-hole 
as shown by the dash and dot lines from Ml and out, 
and from LI thru H and down to U. 



Shape the arm hole of fore part from U around to Yl, and 
up to 9. 

SMALL BLADE. 

The Small Blade is followed in the same manner as the 

Large Blade, which will be worked just the other way. 

In this case, T to T2 is Yz inch. 
Then rule a line from T2 up, parallel with that of line TF. 
Square a line up one inch in front of T2, locating Y2 ; this 

will bring the arm hole back J/2 inch. 
HI to H3 is ^ inch. 
Square up from H3. 
Points L and LI will be located in the same manner as in 

the normal draft from this line. 
Rule a line from 7 thru H3. 
This will bring back point 8, as will be noted. 
Reshape the arm hole from LI around thru 8 and down 

toU. 
Reshape the arm hole of fore part from U around thru Y2, 

and uo to 9, the shoulder seam will be measured in the 

same manner as explained before. It will lose a little 

in width. 
These changes are indicated by the small dash lines. 



VARIATIONS ON VEST 




LONG AND SHORT NECK. 

These changes will be found in the same manner as 
explained in the sack coat, (see page 61) using the same 
principal (second degree, Yi inch.) This diagram explains 
itself. The dash and dot lines indicate the long neck. The 
small dash lines indicate the short neck. The heavy solid 
lines being the normal draft. 

LONG NECK. 

A to A2 is Yz inch. 

Square out from A2. 

A2 to Ml is 1/6 breast. 

Square up from M2. 

M2 to M3 is 1 inch. 

Rule a line from M3 to L. 

L to LI is 134 inches. 

A2 to A3 is M inch. 

Reshape the back from A3 to M3, M3 to LI as shown by 

the dash and dot lines. 
Rule a line from the star thru F and out, F to Fl is J/2 

inch from this line. 
Square out from Fl. 
Rule a line from T thru Fl and up. 
Fl to AAl is 1/6 breast. 

Sweep forward from AAl to 11, pivoting at FL 
Rule a line from 9 to Fl and up. 



Reshape the shoulder seam from 9 thru Fl and out. and 
finish the balance of the vest in the regular way, as 
shown by the dash and dot lines. 

SHORT NECK. 

A to A4 is Yi inch. 

Square out from A4. 

A4 to M4 is 1/6 breast. 

Square up from M4. 

M4 to M5 is 1 inch. 

Rule a line from M5 to L. 

L to LI is 1J4 inches. 

A4 to A5 is Ya inch. 

Reshape top of back from A5 to MS, MS to LI as shown 
by the small dash lines. 

From F to F2 is Y^ inch on the same line ruled from the 
star thru F. 

Square out from F2. 

Rule a line from T thru F2 and up. 

F2 to AA2 is 1/6 breast. 

Sweep forward from AA2 to 12, pivoting at F2. 

Rule a line from 12 to Jl. 

Rule a line from 9 to F2. 

Shape the top of shoulder from 9 thru F2 and out. 

Reshape the front of vest and stand, and finish as repre- 
sented by the small dash lines. 



114 



VARIATIONS ON VEST 




SQUARE SHOULDERS. 

Using the second degree, {Vz inch.) 

First lay up the draft in the regular manner. 

L to L2 is yi inch. 

L2 to LI is 134 inches. 

T to Tl is H inch. 

Square back from Tl, locating Ul. 

Rule a line from 7 and down to the line squared back from 

Tl as shown, locating point 8. 
9 to 10 is yi inch. 
Rule a line from 10 to F. 
Reshape the arm hole from LI thru 8 to Ul coming down 

y2 inch below the line squared back from TL 
Reshape the arm hole of fore part from 10 thru Y, and 

around to Ul, coming down Yz inch below the breast 

line as illustrated bv the dash and dot lines. 



SLOPING SHOULDERS. 

This will be followed out in the same manner as that of the 
Square Shoulders, but just the reverse : 

From L to L3 is yi inch. 

Rule a line from Ml to L3. 

T to T2 is H inch. 

Square back from T2, locating U2. 

Rule a line from 7 to HI locating 8. 

9 to 11 is >^ inch. 

Rule a line from 11 to F. 

Reshape the arm hole from LI around thru 8 and down 
to U2, coming down yi inch below the line squared 
back from T2. 

Shape the front part from 11 around thru Y to LT2, com- 
ing down 3/ inch below the line squared back from T2. 

These changes are illustrated by the small dash lines. 



115 



FULL DRESS VEST. 



With Application of Measurements. 



Measures as follows : 

Waist length 17 in. 

Opening 19j/ in. 

Side length 23 in. 

Short measures applied : 

Depth of scye 93/^ in. 

Blade .....' ny, in. 

Strap 12>S in. 



Full length 27 in. 

Breast 38 in. 

Waist 33 in. 

Over-shoulder 17j4 in. 

Attitude Normal 



TO DRAFT. 



All points in this draft are gained in the same manner 

as in the Proportionate Draft, with changes as follows: 

From PI to 12 is 1 inch. 

Rule a line from Bl to 12, 

12 to Z is 1/6 breast, plus 1 inch. 

Rule a line from Z to 6 (check measure of opening from Al 
to Ml, placing this amount and continuing to 12, plus 
1 inch for make-up. 

Check the length to the side in the same manner, and con- 
tinue down to 4, plus 1 inch ; also check the full length, 
allowing lj4 inches extra for make-up, to point 5. 



These lines are indicated by the two light parallel lines at 

these points, representing the tape measure. 
Check the depth of scye from Al to Bl (no allowance). 
Check the blade measure from Bl to 13, 13 to T is 1% 

inches for make-up. 
Check strap measure from T to AA. plus ^2 inch for 

make-up. 
AA to F is the same as from Al to Ml. 
Check the front shoulder measure from Bl to 14, placing 

this amount on T. and continue to 15, plus 1 inch for 

make-up. 
This completes the diagram. 



116 




No. 5. 
CLERICAL VEST. 

Measurements : 
5reast 38 in. Waist . . 



.33 ir 



TO DRAFT. 



All systematical points are gained in the same manner 
as the Proportionate Vest. The difference in this vest is 
the neck hole, the collar, and the fly arrangements for clos- 
ing the vest in the front. 
10 to 11 is 1/6 breast. 
Rule a line from 12 to 11. 

Shape the neck hole from F around to 11 as illustrated, and 
shape from 11 to Jl. PI and down to S, as in the regu- 
lar way. 
Rule a line from point 1 1 down toward 4 as illustrated by 
the dash and dot lines. 



Cut the front part off along this line. 

The fore part on the right side will be in two separate 
pieces, one fore part being cut in the regular manner, 
with the changes along the shoulder seams from arm 
hole and side seams, as shown by the dash lines. 

The other section of the fore part which is cut off, as from 
11 down toward 4, will serve as the fly, with the other 
section lapping over and buttoned on as shown in the 
illustration. 

Lay up the collar 1J4 inches wide in the same manner as 
explained in the Clerical Frock Coat. (See page 156.) 



118 



TROUSERS 




119 



ProportioneLte InseeLm of Trousers 



To be Used in Connection with the Table of Sizes for Coats. 



Breast 


5-4 


5-5 


5-6 


5-7 


5-8 


5-9 


5-10 


5-11 


6-ft. 


Seat 


32 


30J 


3U 


31f 


321 


32f 


33i 


33f 


34i 


34f 


33 


33 


30^ 


3U 


31* 


321 


32* 


33i 


33* 


34^ 


34* 


34 


34 


30f 


30J 


31i 


3^1 1 


32| 


m 


33f 


33| 


34f 


35 


36 


30^ 


30f 


3U 


31 f 


321 


32f 


33i 


33 f 


341 


36 


36 


30 


30* 


31 


31* 


32 


32i 


33 


33i 


34 


37 


37 


29J 


30f 


30f 


3U 


3U 


32| 


32f 


33J 


33f 


38 


38 


29i 


301 


301 


31i 


31f 


321 


32| 


33i 


33| 


39 


39 


29* 


29J 


30* 


30i 


314 


31| 


32* 


32^ 


33* 


40 


40 


29^ 


29f 


30i 


30f 


3U 


31f 


321 


32f 


331 


41 


41 


29^ 


29* 


301 


30* 


31i 


31i 


m 


32i 


331 


42 


42 


2SJ 


291 


29i 


30f 


301 


31f 


311 


32f 


32| 


43 


43 


28$ 


29i 


29| 


30i 


30f 


3U 


31f 


321 


32 1 


44 


44 


28i 


29 


29* 


30 


30* 


31 


31* 


32 


32^ 


45 


45 


28J 


2Sf 


291 


29f 


301 


30f 


311 


31f 


321 


46 


46 


28i 


28f 


29J 


291 


301 


30| 


31i 


31f 


m 


47 


47 


27J 


28* 


2SJ 


29* 


29i 


m 


30J 


3U 


311 


48 


48 


27f 


2Si 


28i 


29J 


29f 


m 


30f 


3U 


31f 


49 



Proportiona.te Rise in Trousers 



In Connection with Heights and Seat Measure. 



Seat 


5-4 


5-5 


5-6 


5-7 


5-8 


5-9 


5-10 


5-11 


6-ft. 




32 


7i 


n 


n 


71 


8 


SJ 


Si 


Sf 


Si 




33 


7f 


n 


8 


8i 


Si 


81 


8i 


81 


81 




34 


8 


8J 


8i 


Sf 


Si 


Sf 


Si 


H 


9 




35 


Si 


Sf 


8i 


8f 


81 


SJ 


9 


9i 


9i 




36 


8i 


SI 


8i 


8i 


9 


9| 


9i 


Qf 


9i 




37 


81 


8i 


9 


9i 


9i 


9f 


9i 


9f 


9f 




38 


9 


9^ 


9i 


91 


9* 


91 


9f 


% 


10 




39 


9^ 


91 


9* 


9f 


9f 


9i 


10 


m 


lOi 




40 


9i 


91 


9f 


% 


10 


101 


lOi 


lOf 


lOi 




41 


9f 


9J 


10 


10^ 


lOi 


10| 


10* 


lOf 


lOi 




42 


10 


m 


lOi 


lOf 


10* 


lOf 


lOf 


lOf 


11 




43 


101 


lOi 


10* 


lOf 


lOf 


lOJ 


11 


Hi 


Hi 




44 


10^ 


lOf 


lOf 


lOJ 


11 


Hi 


Hi 


llf 


Hi 




45 


lOf 


lOJ 


11 


iH 


Hi 


llf 


Hi 


Hf 


Hi 




46 


11 


lU 


111 


llf 


Hi 


llf 


llf 


llf 


12 




47 


Hi 


iif 


lU 


llf 


111 


lU 


12 


12f 


12i 




48 


114 


lit 


Hi 


Hi 


12 


121 


121 


12f 


12i ' 



Waistband not Included. 



121 



HOW TO MEASURE. 



Trousers 



The illustration on the opposite page is given to make these instructions clear, and the student 
should constantly refer to it. 

To obtain correct measurements for trousers it will be necessary for your client to stand 
erect, with the feet about eight inches apart, in any easy attitude, with his trousers adjusted so 
that they will fit accurately. 

Measurements for trousers should be entered in the order book as follows: 

Outside seam Seat 

Inside seam Knee 

Waist Bottom 



To obtain these measurements proceed then in this manner: 

1. Measure outside seam from point A at the waist to point B, at the bottom. 

2. Measure for inside seam from point C to point F, at the heel of the shoe. 

3. Measure waist over waist band, drawing tape closely. 

4. Measure seat at point D, the most prominent part. 

While this latter measurement is being taken, the subject should stand with his heels close 
together. In the case of corpulent figures tape should be passed over the abdomen, half way be- 
tween waist and seat. 

5. Measure around knee. 

6. Measure around bottom of trousers. 

These measurements for knee and bottom will vary according to requirements of style and 
taste. 

It will now be necessary to ascertain what, if any, variations from normal are present, and 
these deformations must be carefully noted. In drafting your pattern you will be able to ascertain 
the proper allowances for these variations from the table relating to same. This is so important that 
you should be sure you understand thoroughly the principles underlying the adjustments for these 
peculiarities of form, as otherwise you will not be able to draft patterns that will give the correct 
fit and shape. 

Ask your client to stand with feet close together. 

Place your hand between his legs at the knee. If there is a space equal to the breadth of 
two fingers, he is slightly bow-legged. 

If the space is equal to three fingers' breadth, he is bow-legged in the medium degree; while 
a space equal to the breadth of the hand would make him bow-legged in the extreme degree. 

The seat may be large or flat; he may require a longer than normal front to his trousers, 
or he may have a stoop, and describe the contrary conformation. His hips may be large or small, and 
he may use his feet in a peculiar manner, perhaps spreading them unduly, or conversely he may keep 
his feet too close together in walking. 

Your success will depend upon your accuracy in making all these notations and adjusting 
your measurements accordingly, from the rules laid down, which will be found adequate to every 
requirement. 

122 




123 



PROPORTIONATE TROUSERS. 

Measures. 

Outside seam 41 '/-j in. -Seat 38 in. 

Inside seam 32 in. Knee 19 in. 

Waist 62 in. Bottom 16 in. 



TO DRAFT. 
Fore Part, Diagram No. 1. 
Square out and down from A. 
A to B is the outside seam length. 
B to C is the inseam length. 
C to D is J^ inseam. 
D to E is 2 inches. 
C to N is 1/6 seat. 
Square out lines N, C, E, and B. 
C to F is 3^2 seat. 
F to G is J/2 inch. 
G to H is 1/12 seat. 
H to I is % of an inch. 
J is between C and H. 
Square up from J, locating K. 
K to L is J4 waist. 
K to M is 54 waist. 
B to P is 1/3 seat. 
Rule a line from J to P locating Q. 
P to R. and P to S are each 54 of the bottom. 
O to T and Q to U are each 54 of the knee measure. 
Rule a line from T to R. 
Rule a line from C to U and U to S. 
Rule a line from L to G, and from L to F, locating O. 
Shape fore-part from M thru N to C. 
Shape from L around to I, and from I to T as shown. 
Shape bottom from S to R coming up ^4 of an inch at P 
which finishes the fore-part. 

BACK PART, Diagram No. 2. 
Cut out the fore-part, and place upon another paper, 
ind proceed with the back part as follows : 
Extend the lines at the knee and the bottom. 
Sweep forward from I to V, pivoting at T. 
.Sweep back from C to 6, pivoting at U. 



Sweep up from M, pivoting at F. 

Sweep back from M, pivoting at C. 

Rule a line from 8 to Y, along the sweep lines as shown. 

R to 2, S to 3, T to 4, and U to 5, are each 54 inch. 

I to V is 1/12 seat. 

Place corner of square on O, with the long arm resting on C. 
Square up from O, to Y as shown by the illustration of the 

square. 
O to W is 1/6 seat. 
Square back from W. 
W to X is 5^ the seat. 
X to 7 is 1% inches (for seams and ease). 
Rule a line from 7 to 5. 
Y to Z is 1 inch, (for seams.) 
Z to 8 is 5^ seat. 
Shape outside seam from 8 thru 7, to 5 coming in 5^ of an 

inch at 6 as shown. 
Rule a line from 5 to halfway between 3 and S. 
Shape from 5 to 3, coming out 54 of an inch for calf, just 

below 5, and shaping out to 3 as shown. 
Rule a line from 4 to half way between R and 2. 
Shape inseam from Y thru 4 to 2 as shown. 
Shape bottom of back part from 3 to 2, coming down ^ of 

an inch from P. 
Z to 9 is !/2 the waist. 
The difference between 9 and 8 is suppression, this amount 

should be taken out in a V, deducting V2 inch for seams, 

(1 inch in this case.) 
8 to 11 is 1/6 seat. 

II to 10 is the 1 inch V, as explained. 
Rule a line from 11 to J. 

Shape crutch seam from Z thru W, O and around to V 

as shown. 
Shape the V from 11 to 12, and 10 to 12, which completes 

the diagram. 



124 





125 



CORPULENT TROUSERS. 

Measurements. 

Outseam 42)4 in. Abdomen 

Inseain 31 in. Knee 

Waist 46 in. Bottom 

Seat 46 in. 



.47 in. 
.22 in. 
.17 in. 



TO DRAFT. 

Forepart. 

Square out and down from A. 

A to B is the outside length. 

D is 34 inseam. 

D to E is 2 inches. 

C to N is 1/6 seat. 

Square out lines N, C, E and B. 

C to F is 3% seat. 

F to G is 34 inch. 

G to H is 1/12 seat. 

Hto I is y^ inch. 

J is between C and H. 

Square up from J. 

K to L and K to M are each %. of the waist. 

Rule a line from L to F, and L to G. 

Square up a line from half-way between F and G locat- 
ing 12 and O. 

12 to 13 is the same distance as from 12 to L 

K to Kl is 1/6 seat. 

Square back and forth from KI. 

Square down from L locating 14. 

Shape top of forepart from M to 13. 

Shape front fork from 13 thru L around thru O and out 
to I, commg out % of an inch at 14. {Check abdomen 
measure. From KI to 14 is % of the abdomen.) 

Shape the outside seam from M to N thru N to C 

B to P is 1/3 seat. 

Rule a line from J to P, locating Q. 

P to R and P to S are each Y^ bottom measure. 

Q to T and Q to U are each 34 knee measure. 

Rule a line from C to U, and from U to S. 

Rule a line from T to R. 

Shape the inseam from I to T. 

Shape bottom from S to R, coming up ^ inch at P. 
This completes the forepart. 

Back Part. 
Cut out the fore part and place upon another paper, and 

continue. 
Extend the knee and bottom lines. 
Sweep forward from I to V pivoting at T. 
Sweep back from C to 6, pivoting at 5. 
Sweep forward from M to Y, pivoting at F. 
Sweep back from M to 8 pivoting at C. 
Rule a line from 8 to Z. along the sweep lines. 
S to 3, R to 2, T to 4, and U to 5 are each ^4 inch 
I to V is 1/12 seat. 

O in this draft will be found on the lines squared up from 
between F and G, always on stout trousers. 
Place corner of square on O, with the long arm resting on 

C, square up from O to Y. 
O to W is 1/6 seat. 
Square back from W. 
W to X is >4 seat. 
X to 7is 1J4 inch. 
Rule a line from 7 to 5. 
Y to Z is 1 inch, (allowance for seams.) 
Z to 8 is ^ waist measure. 
(The waist and seat being the same in this draft, there is 

no V taken out.) 




126 



Rule a line from 5 to 3. 
Rule a line from 4 to 2. 
Shape outside seam from 8 thru 7, and down to 5, coming 

in % of an inch at 6. 
Shape from 5 to 3, coming out ^ inch for calf, just below 

5, as illustrated. 
Shape crutch seam from Y thru W, O and around to V. 
Shape from V to 4, and down to 2. 
Shape bottom from 3 to 2, coming down ^ inch below P, 

which completes the draft. 
Check seat measures from O to N ; apply this to W, and 

continue to X, ^ the seat, X to 7 is 1^ inches. 
Check abdomen measure from 14 to 15. Apply this to 16, 

and continue to 17, 3^ the abdomen measure, plus 1 

inch. Check the waist measure from 13 to M, apply this 

at Y, and continue to 8, yi the waist plus one inch. 

FULL PEG TOP TROUSERS. 

Measures. 

Out seam 40>4 in. Bottom 15>^ in. 

Seat 38in. Waist 32 in. 

Inseam 32 in. Cuff^bottom 2 in. 

4 inches excess. 

^4 Peg-top allow J4 in- H Peg-top allow J4 iri. 

yi Peg-top allow yi in. Full Peg-top. . . .allow 1 in. 

The foundation is obtained in the same manner as in 
the Proportionate Trousers. Diagram No. 1, with the ex- 
ception that the knee measure is ignored, the changes are 
as follows : 
Shorten the inseam 1>< inches for cuff-bottom trousers, as 

from B to Bl. 
C to CI is 1 inch, % of an inch for each inch of excess, as 

explained above. 
Bl to P is 1/3 seat, plus yi inch ; this will swing the trousers 

in, as they should be for peg-top. 
Rule a line from CI to S, locating U. 
Rule a line from H to R, locating T. 
Shape the outside seam from M through CI, and down as 

shown. 
Proceed with the back part as in the regular way, except 

that you place the corner of the square on point O, 

with the long arm resting on CI, which will straighten 

the back part a trifle. 
From W to X is ^ the seat. 

X to XI is 1 inch, the same as from C to CI. 

XI to 7 is 1% inches. 
CI to 6 is ly2 inches. 
Rule a line from 6 to 3. 
T to 4 is M of an inch. 

Shape the outseam from 8 through 7, 6, 5 and down to 3. 

Shape inseam from V through 4 to 2. 

Shape the balance of the trousers in the regular way, as 

illustrated. 
Extend the waist band of 1J4 inches above the fore part 

and back part, as shown by the dash lines. 
This completes the draft. 

CUFF. 
Square down from R. 
Square down from S. 

R to Rl is twice the width of the cuff, plus 1 inch. 
Square back from Rl, locating SI. 
R to R2 is the width of the cuff. 
S to S2 is the same. 

Extend the lines to these points and reshape the fore part 
and back part, as shown by the dash lines. 




127 



VARIATIONS. 

This diagram represents the changes for open and 
closed legs. 

Stipulate the degree of variation by J4 inch. 1 inch, 
or lyj inches, for the 1st, 2nd, or 3rd degree. 

The 2nd degree will be used, being 1 inch. 

All points are gained the same as in the Proportionate 
Trousers, as illustrated by the heavy solid lines. 

OPEN TROUSERS. 
Open leg, shown by dash and dot lines. 
P to PI is 1 inch (2nd degree). 
Rule a line from J to PI, locating 3. 
3 to 5 and 3 to 4 are each }4 knee measure. 
PI to 8 and PI to 6 are each % of the bottom measure. 
7 to 8 is >^ degree used between P and PI (J/2 inch). 
Rule a line from 8 to 6. 
Reshape the fore part from tiiese points, indicated by the 

dash and dot lines. 

CLOSED TROUSERS. 
As shown by the small dash lines. 
P to P2 is 1 inch. 

Rule a line from J to P2, locating 11. 
P2 to 14, P2 to 15, 11 to 12, and 11 to 13 are each % of 

the knee. 
P2 to 14 and P2 to 15 are each % of bottom measure. 
15 to 16 is half the degree, as between P and P2 (3/2 inch). 
Rule a line from 16 to 14. 
Reshape the fore part, as illustrated by the small dash lines. 





LONG AND SHORT FRONTS. 
Stipulate the degree of variation by ^ inch, J/2 inch, 
or J4 inch for the 1st, 2nd, or 3rd degree. 

The 2nd degree being used {yi inch) in this diagram. 

LONG FRONT. 

The same points are used as in the Proportionate 
Trousers, indicated by the solid lines. 
O to 01 is yi inch (2nd degree). 
Rule a line from N to Ol, locating 3. 
Square up from 3 by line N-Ol, locating Kl ; this being the 

balance line for the waist. The waist should then 

be applied in the regular way. 
Kl to LI and Kl to Ml are each ^ of the waist. 
Rule a line from LI to Ol. 
Rule a line from LI to 4. 
L to LI is yi inch (same as O to Ol). 
Reshape from M to N, and from M to LI, LI to 4, and 

out to I, as shown by the dash and dot lines. 

SHORT FRONT. 

This change is just the reverse of the long front. 
O to 02 is y2 inch (2nd degree). 
Rule a line from N to 02 locating 5. 
Square up from 5, by line N 02 locating K2. 
L to L2 is J^ inch, same as shown from O to 02. 
Rule a line from M to L2. 

K2 to M2 and K2 to L2 are each ^ of the waist. 
Rule a line from L2 to 02. 
Rule a line from L2 to 6. 
Reshape from AI2 to N, and from M2 to L2, L2 to 6, and 

around to L as illustrated by the small dash lines. 



128 




BOW-LEG AND KNOCK-KNEE. 

The same principle is used as in the open and closed 
legs, except that the balance line is swung from point Q, 
instead of J. 

The heavy solid lines indicate the normal draft. 

BOW-LEGGED. 
P to PI is 1 inch, representing the bow-legs in the 2nd 

degree. 
Rule a line from Q to PI. 
PI to 7 and PI to 8 are each 34 the bottom. 
8 to 9 is J<2 inch, half the amount used between P and PI. 
Rule a line from 9 to 7, and reshape as shown by the small 

dash lines. 

KNOCK-KNEED. 
This is just the reverse. 
P to P2 is 1 inch. 
Rule a line from Q to P2. 
P2 to 4 and P2 to 5 are each % the bottom. 
3 to 5 is 3/2 inch, half the amount used between P and P2. 
Rule a line from 5 to 4, and reshape as shown by the dash 

and dot lines. 



LARGE AND FLAT SEAT. 

This diagram shows the way a large and flat seat is 
obtained. 

The heavy solid lines indicate the normal draft. 

All points are obtained in the same manner as for the 
Proportionate Trousers. 

LARGE SEAT. 

O to 01 is J4 inch (2nd degree). 

Place the corner of square on point 01, with the long arm 

resting on C. 
Square up from Ol, locating Yl, as shown by the dash and 

dot lines. 

to Wl is 1/6 seat. 

Square back from Wl, locating X. 

1 to V is 1/12 seat. 

V to VI is 34 inch (3^2 the amount used between O and Ol). 

Y to Yl is 34 inch (the same amount as from O to Ol). 
Reshape from 8 to Yl, from Y through Wl, Ol and around 

to VI, as shown by the dash and dot lines. 

FLAT SEAT. 

This will be just the reverse of the large seat, using 
the same degree. 

to 02 is lA inch. 

Place corner of square on 02, with long arm resting on C. 
Square up from 02, locating Y2. 

02 to W2 is 1/6 seat. 

Square back from W2, locating X. 

Y to Y2 is Yz inch (the same as from O to 02). 

1 to V is 1/12 seat. 

V to V2 is 34 inch (34 the amount used between O and 02). 
Reshape as from 7 to 9, 9 to Y2, Y2 through W2, 02 and 

around to V2, as shown by the small dash lines. 




129 



COMBINED VARIATIONS. 

Out-seam 38 in. In-seam 29j^ in. 

Waist 33 in. Seat 37 in. 

Knee ISJ/^ in. Bottom 15J-1 in. 

Definition of Type: Open leg; Bow-leg; Long front; 
Flat seat. 

In the 2nd degree. 



TO DRAFT. 
Square out and down from A. 
A to B is the outseam. 
B to C is the inseam. 
B to D is >4 the inseam. 
D to E is 2 inches. 
C to N is 1/6 seat. 
Square out lines N, C, E and B. 
C to F is >^ seat. 
F to G is }/2 inch. 
G to H is 1/12 seat. 
H to I is ^ of an inch. 
J is between C and H. 
Square up from J. 
K to L is J4 waist. 
Rule a line from L to F, locating O. 
Rule a line from L to G. 

O to 01 is J4 inch (Long front, 2nd degree). 
Rule a line from N to 01, locating 13. 
Square up from 13 by line N-Ol locating Kl. 
From Kl to LI, and from Kl to N are each ^ of the waist. 
L to LI is /4 inch. 
Rule a line from M to LI. 
Rule a line from LI to 01. 
Rule a line from LI to 14. 
B to P is 1/3 the seat. 

P to P2 is 1 inch (for open leg, 2nd degree). 
Rule a line from J to P2, locating Q. 
P2 to P is 1 inch (for bow-leg, 2nd degree). 
Rule a line from Q to P. 
P to R, and P to S are each ^ of the bottom. 
Q to T and Q to U are each J4 of the knee. 
Rule a line from C to U, and from U to S. 
Rule a line from T to R. 
Shape outside seam from M through N to C. 
Shape front fork from LI through 14, and around to I. 
Shape from I to T, which completes the fore-part. 



BACK PART. 
Cut out the fore-part and place upon another paper, and 

continue. 
Extend the knee and bottom lines. 
Sweep forward from I to V, pivoting at T. 
Sweep back from C to 6, pivoting at U. 
.Sweep forward from M to Y, pivoting at F. 
Sweep back from M to 8, pivoting at C. 

to 02 is ^ inch (for flat seat in 2nd degree). 

Place comer of square on 02, with long arm resting on C. 

Square up on 02, locating Y. 

02 to W is 1/6 seat. 

Square back from W, locating X. 

W to X is 1/ seat. 

X to 7 is 1^ inches. 

Y to Y2 is y2 inch (the same as from O to 02). 
Shape top line from 8 to Y2. 

Y2 to Z is 1 inch (allowance for seams). 

Z to 8 is J^ seat. 

R to 2, S to 3, T to U, and U to 5 are each Y^ inch. 

1 to V is 1/12 seat. 

V to V2 is 14 inch (one-half the amount used between O 

and 02). 
Rule a line from 7 to 5. 
Rule a line from 5 to 3. 
Rule a line from 4 to 2. 
Shape the outside seam from 8 through 7, to 5, coming in 

J/8 of an inch at 6. 
Shape from 5 to 3, coming out Y^ of an inch for calf, just 

below point 5. 
Shape the crutch seam from Y2 through W-02, and around 

to VI. 
Shape the inseam from W through 4 to 2. as illustrated. 
Z to 9 is Yi the waist. 
8 to 11 is 1/6 seat. 
11 to 10 is the difference between 8 and 9, which should 

be taken out in a V (minus JX inch for seams). 
Shape the top, taking out tlie V, which completes the 

diasrram. 



130 




131 



COMBINED VARIATIONS. 

Measures. 

Out-seam 42 in. In-seam 32 in. 

Waist 32 in. Seat 39 in. 

Knee 19>^ in. Bottom 16 in. 

Definition of Type: Closed leg, knock-knee, short 
front, large seat. 



TO DRAFT. 

Square out and down from A. 
A to B is the outseam length. 
B to C is the inseam length. 
B to D is 3/^ inseam. 
D to E is 2 inches. 
C to N is 1/6 seat. 
Square out lines N, C, E and B. 
C to F is 3^ the seat. 
F to G is 3/2 inch. 
G to H is 1/12 seat. 
H to I is ^ of an inch. 
T is between C and H. 
Square up from J. 
From K to L is J4 the waist. 
Rule a line from L to F, locating O. 
Rule a line from L to G. 

From O to 02 is '/^ inch for short front, 2nd degree). 
Rule a line from N to 02, locating 15 on line J-K. 
Square up from 13, by N-02. 
L to L2 is }< inch (same as from O to 02.) 
K2 to L2, and K2 to 'SI are each 34 of the waist. 
Rule a line from M to L2. 
Rule a line from L2 to 02. 
Rule a line from L2 to 16. 
B to P is 1/3 the seat. 

P to PI is 1 inch (for closed leg in 2nd degree). 
Rule a line from J to PI, locating O. 
PI to P is 1 inch (for knock-knee in 2nd degree). 
Rule a line from Q to P. 
P to R and P to S are each 34 of the bottom. 
O to T and Q to U are each 34 the knee. 
Rule a line from T to R. 
Rule a line from U to S. 
Shape outside seam from M through N to C. 
Shape front fork from L2 through 16 and around to I. 
Shape the inseam from I to T, which completes the fore- 
part. 



BACK PART. 

Cut out the fore-part, and place on another paper, and con- 
tinue. 
Extend the knee and bottom lines. 
Sweep from I to V. pivoting at T. 
Sweep back from C to 6 pivoting at U. 
Sweep forward from M to Y, pivoting at F. 
Sv^'eep back from M to 8, pivoting at C. 

to 01 is 3^ inch, (for large seat in the 2nd degree.) 
Place corner of square on Ol, with long arm resting on C. 
Square up from Ol, locating Y. 

Y to Yl is 3^ inch, (the same amount as from O to Ol 

01 to W is 1/6 of the seat. 
Square back from W. 

W to X is J^ the seat. 

X to 7 is 1% inches. 

Rule a line from the top of sweep line at 8 to Yl. 

Yl to Z is 1 inch, (allowance for seams.) 

Z to 8 is ^ the seat. 

R to 2, S to 3, T to 4, and U to 5 are each 3^ inch. 

Rule a line from 7 to 5. 

Rule a line from 5 to 3. 

Rule a line from 4 to 2. 

Shape the outside seam, from 8 thru 7, around to 5. 

Shape from 5 to 3, coming out 34 inch at calf, just below 

point 5. 
I to V is 1/12 seat. 

V to VI is 34 in, (half the amount used between O to 02.) 
Shape the crutch seam from Yl thru W, Ol and around 

to Ul. 
Shape inseam from VI to 4, and down to 2. 
Z to 9 is 3^ the waist. 
8 to 11 is 1/6 the seat. 
A (V) is taken out between 11 and 10, amounting to the 

difference between 8 and 9, miftus 3^ inch for seams. 
Shape the top part, and finish as illustrated. 



132 




133 



BROAD FALLS AND SPLIT FALLS 



f" J 




BROAD FALLS 

Broad fall trousers are cut the same 
as any other trousers, with the ex- 
ception that the fall-bearer is an 
addition. 

The first diagram shows the broad 
fall pants, the solid line showing the 
fall-bearer. 

Six buttonholes are usual in the 
fall and as many buttons in the fall- 
bearer. 

The bearer is cut high enough to 
make up for the waistband. 

The opening in the side is two- 
thirds of the rise of the waist, or 
about 7 or 8 inches. 

Pockets are put in the bearer as 
indicated. 

On the back part which the dotted 
line indicates, a waistband must be 
added. 



SPLIT FALLS 

The lower diagram shows the older 
style or split fall. 

The width of the fall is one-sixth 
of the waist measure, and the open- 
ing is finished with a strap % inch 
wide, the end turned in so as to make 
it point as shown in the diagram. In 
other respects they are made like the 
broad falls. 



134 



RIDING BREECHES 



MEASURES 

Outside measure to heel 42 

Inseani to heel 32 

Waist 32 

Seat 38 

Knee (not bent ) 15 

Below knee 13^ 

Calf uyi 

THE FOREPART 
Draw line A-B. 
A to C is the rise 10 inches. 
C to D is 2/3 seat. 
D to E is 1/6 seat. 



inche 



E to P is 1/6 seat. 
P to O is 1/6 seat. 

C to R is lyi inches more or less, depending on the amount 
of English wanted. 




E to F is 1/6 seat. 

Square up from E. 

E to G is }i inch. 

D to H is i^ inch. 

C to I is J4 inch. 

Lay short arm of square on I-F and square down to J. 

On line F-J apply the lengths. 

F to K is J/2 inseam, 16 inches. 

K to L is 5^ seat. 

L to J is y^ inseam on 6ths plus 1 inch. 

Square both ways from K to L and J. 

K to M is knee on 4ths. 

J to O is calf on 4ths. 

Draw a line from D to M and shape inseam as illustrated. 




K to S is Ij/i inches. 
J to T is 1 34 inches. 
Draw a line from R to S. 
Connect S and T. 
U is half way between R and S. 
U to V is 2 inches more or less. 

Apply yi waist, 8 inches, from W to X and shape side 
seam as illustrated. 

THE BACK PART 
Extend waist, seat, knee, below knee and calf lines. 
Draw line from D through Q up. On this line lay long 

arm of square and move up or down until 34 of waist 

plus 1 inch, which would be 9 inches in this case. 

touches 3 (see illustration). 
3 to 4 is 3^ inch. 
5 to 6 is 1 inch. 
Take out yi inch V. 
H to 7 is 1/12 seat and 34 inch. 
Draw line 34 inch back of 7 to M and follow outline of 

forepart down. 
R to 8 is 134 inches or the same as C to R. 
S to M and M to 9 is knee measure and ^ inch. 
Y to N, N to 10 is small of knee and ^ inch. 
T to O, O to 11 is calf and ^ inch. 
Draw line from 9 to N and hollow out Vi inch as per 

broken lines. This is on the lower part. 
9 to 12 is }i inch. 
Draw line from 12 to N and hollow out '4 inch as per solid 

line. 
When cutting add 1 seam at both top and bottom of fish. 
Make a small hook at bottom of forepart about 1 inch 

sriuare, as illustrated. 
Split forepart from N to K and S and open about '4 inch 

at K, as shown in separate drawing. Add seams on each 

side as per dotted line. This will give vou the desired 

knee without much manipulation. 



135 



RIDING BREECHES 



This pattern has been thoroughly tested and found to 
be a good pair of breeches, and it is shown here upon its 

merits. 
^Measurements : Rise 10 inches, high knee 24 inches, 

knee 27 inches, small knee 29 inches, full length to calf 

34 inches, waist 31 inches, seat 36 inches. 
Circumference: High knee 15 inches, knee 14 inches, 

small knee 13 inches, calf 14 inches. 

TO DRAFT. 

Square up and down from A. 

A to AA is 2 inches, width of waist band. 

A to B is rise 10 inches. 

A to D is length of high knee 24 inches. 

A to E is length of knee 27 inches. 

A to F is length of small knee 29 inches. 

A to G is length of calf and full length of breeches, 34 

inches. 
Square out from AA. 
Square out from B. 
Square out from E, F, G. 
D to C is 1^ inches. 
Square out from C. 
B to H is 3^ of seat measure. 
H to I is 1/6 of seat measure. 
I to J is % inch. 
H to L is ^ inch. 

K is one-half way between B and H. 
Square up and down from K. 
Rule a line from B to T and down. 

21 to 13 is 1/3 knee measure (14). 

T to 12 is 1/3 low knee measure (13). 
14 to 22 is 1/3 calf measure (14). 

22 is Yz inch below the line. 

M to R is 54 of waist measure plus Yz inch. 
M to O is J4 of waist measure minus V2 inch. 
Rule a line from I to 13 locating 15. 
B to S is 1% inches. 



Drop length of front part ^4 inch at point R and shape as 
per illustration from AA to R, R to T, J to IS, 13, 12 
and 14. 

Shape outside of front part as per diagram from O to S T 
coming out 1 inch from 20. 

Take out the "V" in the front part at point 13, and extend 
with strap as per diagram. Also place the opening of 
narrow fall as illustrated. Cut out front part, place 
on another paper and commence to draft the back part. 

BACK PART 
Square across at high knee and small knee and calf. 
Sweep forward from J, using point 15 as a pivot. 
Sweep backward from 3, using point S as a pivot. 
Sweep backward from O, using point S as a pivot. 
From M to 1, is J4 seat measure. 

1 to 2 is 1 inch. 

2 to 6 is 1 inch. 

L to 8 is 1/6 seat measure. 

Square out from 8. 

J to 7 is ^ of seat measure. 

From 15 to 10 is 3^ inch. 

Rule a line from T to 1. Shape as per illustration from 

6 to 9 and 7. 
Shape from 7 to 10, 11 and down to 14. Apply waist 

measure from R to O, 1 to 5. 
From S to 19 is XYi inches. 
Applv upper knee measure plus 1 inch, from 20 to 15 and 

10 to 23. 
Applv knee measure plus 1 inch from 21 to 13 and 11 

to 16. 
Apply small knee measure plus 1 inch from T to 12 and 

12 to 17. 
Apply measure of calf from 22 to 14 and 14 to 18, plus 1 

inch. 
Shape as per diagram from 4 to 5, 19, 23, 16. 
Take out "V" in back part, as per illustration from ^ 

inch below point 16, as per solid line to point 12. 
Shape lower part from E to 12, 12 to 14, E to 18. 
Take out "V" in back part at point 10 and finish. 



136 




137 






COPY/f/Gf^r /S>/S6y F/?£0 'A', T. c/foo/veo/?s. 



138 




National and Industrial Preparedness 




139 



EXTRACTIONS FROM GOVERNMENT REGULATIONS OF UNIFORMS 



FOR GENERAL OFFICERS. 



A double breasted sack coat of dark blue crepe cut to 
fit the figure easily. Collar to be standing and falling, of 
suitable height, fastened with hooks and eyes. Skirt to 
extend 1/3 the distance from point of hip to bend of knee, 

3 small gilt buttons on cuff. 

Vertical opening to be on left side of body extending 
2 inches above and 2 inches below the point of hip to admit 
of hooking up the saber. Shoulder strap will be parallel to 
sleeve head seams. 

Large gilt coat buttons will be placed on the breast as 
follows : 

General. — 2 rows, 12 in each row, placed by fours, the 
distance between the rows being from 8 to 10 inches at top 
and from 4 to 5 inches at bottom. 

Lieutenant General. — Same as for general, except that 
there will be 10 buttons in each row, the upper and lower 
groups by threes and the middle by fours. 

Major General. — The same as for general except that 
there will be 9 buttons in each row placed by threes. 

Brigadier General. — The same as for general except that 
there will be 8 buttons in each row placed in pairs. 

For Other Officers. — A single breasted sack coat of dark 
blue crepe of easy cut, to close in front with concealed 
fastenings. Standing collar of suitable height, fastened with 
hooks and eyes trimmed with lustrous flat mohair braid, of 
same width as height of collar. To have opening on each 
side of body at hip and on left side a slit not exceeding 3 
inches above the opening, to admit of hooking up the saber. 
Skirt to extend 1/3 the distance from the point of hip to 
bend of knee, shoulder strap parallel to head sleeve seam. 
Front edges of the body and the bottom of the skirt and both 
sides of the vertical opening on each side for a distance of 
6 inches to be trimmed with lustrous flat mohair braid lyi 
inches wide. 

Coats — Full Dress. — For General Officers, except Chief 
of Engineers, Quartermaster General and Brigadier General 
of the Quartermaster Corps. Double breasted frock coat 
of dark blue cloth, standing collar of blue black velvet. 
Skirt to extend j)4 the distance from the point of hip to the 
bend of the knee. Lining to be black, with pockets on the 
inside of the skirt. Sleeve to have cuff of blue black velvet 

4 inches wide, with 3 small gilt buttons on cuff. Two rows 
of large gilt coat buttons according to rank will be placed 



on the breast of the coat as prescribed for dress coat, and 
two large gilt buttons will be placed at the back of the waist 
and one large coat button near the end of each skirt, mak- 
ing 4 buttons on the back of each skirt. Ornamentation of 
collar and sleeve for the general, lieutenant general, and the 
chief of staff' will be such as they may prescribe. For other 
general officers the collar and velvet cuff of the sleeve will 
be ornamented with a band of oak leaves embroidered in 
gold and extending all the way around. 

The chief of engineers will have a coat of the same gen- 
eral type with a piping of scarlet velvet Ys inch wide along 
the upper and outer edges of the left lapel, continuing down 
the edge of the left skirt to bottom and across the top and 
down the outer edge of the left back skirt. 

Back Slashes. — A slash of scarlet velvet to be placed on 
each back skirt and to extend 2/3 of the distance from waist 
to bottom of skirt, and from waist button to 2 inches in 
width at the bottom. To be trimmed with one row of yi 
inch two vellum gold wire lace placed upon white braid. 

Quartermaster General and Brigadier Generals of the 
Quartermaster Corps. Same as for general officers except 
that the collar and cuffs will be of buff' cloth or velvet, pip- 
ing of buff cloth or velvet ys inch wide along upper and 
outer edge of left lapel, continuing down edge of left skirt 
to bottom and across top and down outer edge of left back 
skirt. 

Back Slashes. — A slash of buff cloth or velvet to be 
placed on each back skirt and to extend 2/3 the distance 
from the waist to bottom and from waist button to 2 inches 
in width at bottom. To be trimmed with one row of ^2 
inch two-vellum gold wire lace. 

Other officers will wear for full dress the same style of 
coat, with 2 rows of 9 large gilt coat buttons placed on the 
breast at equal intervals, and 4 buttons on back disposed as 
described above for general officers. Collar to be orna- 
mented with 2 bands of ^ inch twO-vellum gold or gilt wire 
lace, on a ground of silk of the color of the facings of the 
corps, department or arm of service. 

Officers of Engineers. — Same as that of all officers be- 
low the rank of brigadier general, with the following ex- 
ceptions : 

Piping of scarlet cloth ^ inch wide to be placed along 
the top, bottom and front edges of collar, along the upper 



140 



and outer edges of the left lapel, continuing down the edge 
of the left skirt to the bottom, and across top and down 
outer edge of the left back skirt. Back slashes same as for 
chief of engineers, scarlet cloth in place of velvet. 

Officers holding permanent appointments in the quarter- 
master corps. — Same as all other officers below the rank 
of brigadier general with the following exceptions, cuff for 
the sleeve of buff cloth 2^2 inches deep. Piping of buff 
cloth y% inch wide to be placed along the top, bottom and 
front edges of collar, and along the upper and outer edges 
of the left lapel, continuing down the edge of the left skirt 
to the bottom and across the top and down the outer edge 
of the left back skirt. A slash of buff' cloth to be placed 
on each back skirt and to extend 2/3 the distance from 
waist to bottom of skirt and from nothing at waist to 2 
inches in width at bottom. To be trimmed with one row of 
y2 inch two vellum gold wire lace. 
Coats — Service. 

To be a single breasted sack coat of olive drab to fit 
closely at the waist and easy over the chest, buttoned down 
the front with 5 large coat buttons. Standing collar, fastened 
with hooks and eyes. 4 outside patch pockets, two on 
breast and two on hip, slightly rounded at the lower cor- 
ners, and coming to a point in the center, and buttoned by 
a small coat button. Skirt to extend 1/3 the distance from 
point of hip to bend of knee. On each shoulder a loop of the 
same material as the coat let in at the sleevehead seam and 
reaching to the edge of the collar, buttoning at the upper 
end and 1 inch wide at the collar end, and cross stitched 
down to shoulder about 2 inches from the lower end. 
Insignia on Collar of Coat. 

(a) Officers. The letters "U. S." will be worn 1 inch 
from each end of the collar, with a suitable space between 
the letters, and placed midway between the upper and lower 
edges of the collar. The letters "U. S. V." will be similarly 
worn, but five-eighths inch from each end of collar. 

The insignia of the corps, department or arm of 
service and the insignia of aids will be worn five-eighths 
inch from the letters "U. S." and one-half inch from the 
letters "U. S. Y." next to letter farthest from opening of 
collar. 

(b) The gold or gilt insignia will be worn on the col- 
lar of the dress and white uniform, and the bronze insignia 
on the collar of the service uniform, except that the chap- 
lains will wear the silver Latin cross and acting dental 
surgeons will wear the silver caduceus on all uniforms. 

(c) The insignia will be of metal, except that officers 
who already have embroidered insignia on the collar of the 
dress coat may continue to wear them on their present uni- 



forms until they change corps, department, or arm of serv- 
ice. 

Insignia on Collar of Shirt will be of metal, and will 
be worn as follows : 

General. The coat of arms, head of eagle up, in middle 
of collar, midway between the two stars, whose centers will 
be 3 inches apart, point up, one of the stars being one-half 
inch from the end of the collar. 

Lieutenant General. The large star, point up, in middle 
of collar, midway between the two stars, whose centers will 
be 3 inches apart, point up, one of the stars being one-half 
inch from the end of the collar. 

Major General. The centers of the two stars, point up, 
l}4 inches apart, in middle of collar, one star being one-half 
inch from the end of the collar. 

Brigadier General. Star in middle of collar, point up, 1 
inch from end of collar. 

Colonel. Eagle, head up, beak to the front, in middle 
of collar, tip of wing one-half inch from end of collar. 

Lieutenant Colonel. Oak leaf, point up, in middle of 
collar, tip of wing one-half inch from end of collar. 

Major. Oak leaf to be worn same as oak leaf of lieu- 
tenant colonel. 

Captain. The two bars, one-fourth inch apart, in 
middle of collar, parallel to end of collar, and 1 inch 
from it. 

First Lieutenant. The bar, in middle of collar, parallel 
to the end of collar, and 1 inch from it. 

Second Lieutenant. Bronze insignia of arms of serv- 
ice, in middle of collar, and 1 inch from end of it. 

Insignia on Shoulder Loop. On the shoulder loops of 
the service and the white uniform, metal insignia of rank 
will be worn as follows : 

General. The coat of arms, head of eagle up, in center 
of loop, midway between the two stars, whose centers will 
be 3 inches apart, point up. 

Lieutenant General. The large star, point up, in cen- 
ter of loop, midway between the two small stars, whose 
centers will be 3 inches apart, point up. 

Major General. The centers of the two stars, point up, 
2}i inches apart, the stars to be equidistant from the ends 
of the loop. 

Brigadier General. Star in center of loop, point up. 

Colonel. Eagle, head up, beak to the front, in middle 
of loop, talons of eagle five-eighths inch from sleeve end 
of loop. 

Lieutenant Colonel. Oak leaf, point up. in middle of 
loop, stem or leaf five-eighths inch from sleeve end of 
loop. 



141 



Major. Oak leaf to be worn same as oak leaf of lieu- 
tenant colonel. 

Captain. The two bars, one-fourth inch apart, in 
middle of loop, lower bar parallel to and five-eighths inch 
from sleeve end of loop. 

First Lieutenant. The bar in middle of loop, parallel 
to and five-eighths inch from sleeve end of loop. 

Insignia on Sleeve. The sleeve insignia of corps, de- 
partment, arm of service, or aid, will be of metal (gilt or 
goldj except that officers who already have embroidered 
insignia may continue to wear them on their present uni- 
forms until they change corps, department, or arm of serv- 
ice. 

(a) Full dress coat, special evening dress coat, and 
mess jacket. General officers of the staff corps and depart- 
ments. The proper corps or department insignia will be 
placed in the center of sleeve, one inch above the cuff. 

Note. — The stars indicating rank will be worn 1 inch 
above the corps or department insignia. General officers of 
the line will wear the stars 1 inch above the cuff. 

All officers beloiv the rank of brigadier general, e.vcept 
officers of the general staff corps. The insignia of corps, 
department, arm of service, or aid will be placed in the cen- 
ter of the open space under the lace insignia, or if no lace 
insignia are worn, the ornament will be placed with the base 
line 1 inch above the gold band. 

Officers of the general staff corps will wear the corps 
insignia on the shoulder knot. 

(b) Overcoat. The insignia of corps, department, or 
arm of service, or aid, will not be worn on the sleeve of 
the overcoat. 

(c) Chevrons of non-commissioned officers will be 
worn on both sleeves, points up, and midway between the 
elbow and top of sleeves of all coats, including overcoats, 
on sweaters and shirts. 

(d) Insignia for excellence in target practice. Coast 
Artillery, will be worn on the cuff of the right sleeve, and 
will consist of a scarlet figure "1", embroidered on a blue 
cloth disk. This badge will be attached on the middle line 
of the outside of the cuff, 2 inches from the bottom. 

Gunners' Insignia, Field and Coast Artillery. Gunners' 
insignia will be worn on both sleeves of the dress coat, the 



service coat, and the overcoat. The insignia will not be 
worn with the fatigue uniform, nor will it be worn by non- 
commissioned staff' officers of the Field or the Coast Artil- 
lery, nor by enlisted men of the Coast Artillery holding 
rated positions. 

Insignia of rated positions in Coa^t Artillery. The in- 
signia of rated positions in the Coast Artillery will be worn 
on both sleeves of the overcoat and the dress, service, and 
fatigue coats. 
Breeches (Dress). 

The breeches will be cut loose in the thigh and tight 
from the knee down, with ample length from the hip to the 
knee, with a strapping of the same material on the contact 
surface on the inside of leg and knee. To be fastened from 
the knee down with laces or buttons of appropriate size and 
collar, either showing or concealed in a fly. 

General officers except chief of coast artillery, chief of 
engineers, quartermaster general and brigadier generals of 
quartermaster corps. To be of dark blue elastique of adopted 
standard, without stripe, welt or cord. 

Chief of Coast Artillery to be of dark blue elastique of 
adopted standard with a stripe of scarlet cloth Ij^ inches 
wide and welted at the edges. 

Quartermaster General and Brigadier Generals of 
Quartermaster Corps. To be of dark blue elastique of 
adopted standard with a stripe of buff cloth Ij^ inch wide 
and welted at the edges. 

Chief of Engineers. To be of dark blue elastique of 
adopted standard with a stripe of scarlet cloth lj4 inch 
wide with a piping of white cloth y% inch wide in each 
edge. 

Officers beloiv rank of Brigadier General holding per- 
manent appointments in Staff corps and departments, and 
chaplain except quartermaster, engineer and signal corps. 
To be of dark bine elastique with stripe, welt or cord. 

Officers holding permanent appointments in signal corps 
to be of dark blue elastique of adopted standard with a 
stripe of orange cloth l,'/2 inch wide with a piping of white 
cloth yi inch in width on each edge. 

Officers of Infantry. To be of sky blue elastique of 
adopted standard with white stripe 1 '1 inch wide and welted 
at the edge. 



142 



Officers, Cavalry and Artillery. Same as above, with 
stripe of color of arm of service. 
Trousers — Dress. 

General Officers except chief of coast artillery, chief 
of engineers, quartermaster general, and brigadier general 
of quartermaster corps. — To be of dark blue doeskin, of 
adopted standard without stripe, welt or cord. 

Chief of Coast Artillery. To be of dark blue doeskin 
with stripe of scarlet 1/12 inch wide and welted at edges. 

Chief of Engineers. To be of dark blue doeskin with 
stripes of scarlet cloth 1^ inches wide with a piping of 
white cloth yi inch in width on each edge. 

Quartermaster General and Brigadier General of Quar- 
termaster Corps. To be of dark blue doeskin with stripe 
of buff cloth 1J4 inch wide and welted at edges. 

Officers belozv rank of Brigadier General holding per- 
manent appointments in staff corps and departments and 
chaplains except quartermaster, engineer and signal corps. 
To be of dark blue doeskin of adopted standard without 
stripe, welt or cord. 

Officers holding permanent appointments in signal corps. 
To be of dark blue doeskin with orange stripe IV2 inches 
in width with piping of white cloth % inch in width on 
each edge. 

Officers of Infantry. To be of sky blue doeskin of 
adopted standard with stripes 1>4 inches wide and welted 
at edges. 

General Officers e.vcept Chief of Engineers. To be of 
dark blue doeskin of adopted standard with 2 stripes of gold 
wire lace Yz inch wide, with J4 inch interval between them, 
mounted upon velvet, of color of cuffs and collar of coat, 
and placed down the wide seam. 

Officers belozv the rank of brigadier general holding 
permanent appointments in the staff corps and departments 
and chaplain except officers of the quartermaster engineer 
and signal corps. To be of dark blue doeskin with one 
stripe of gold wire lace 7/8 inch wide down the side seam. 

Trousers, special evening dress. For officers of cavalry, 
artillery and infantry. To be of dark blue cloth, with stripe, 
welt or cord. 

Vest — special evening dress, an 1 mess jacket. 

For the mess jacket to be of the same material as the 
blue and white mess jacket, single breasted, cut low, with 
rolling collar and fastened with small gilt regulation but- 
tons, for the special evening dress to be of white material. 



Overcoat — Olive drab. 

Body, double breasted ulster of olive drab woolen ma- 
terial of adopted standard, lined and closing by means of a 
double row of buttons, 5 on each side, 45 ligne in diameter. 
Coat to extend from 8 to 10 inches below knee. At waist 
line to have back strap let in at side seams, and to button 
together with 2 large buttons and button holes. Buttons 
to be of horn, conforming in color to material of coat. Collar 
to be standing and falling, of suitable height, and closed 
in front with hooks and eyes, and the fall to be of not less 
than 4 inches nor more than 5 inches in height. A flap of 
the same material as coat 5 inches in length and 2 inches in 
width, with a buttonhole in each end made detachable to 
close the front of collar. The lining to be slit and fastened 
to pocket openings to allow the hand to go through to the 
pocket of trousers and permit of hooking up sabre. Slit 
to be closed with small buttons and buttonholes inside. To 
have another slit in back about 25 inches long from bottom 
closed with 3 small buttons and buttonholes concealed. 

Pockets. 2 outside pockets, welted one on each side 
with vertical openings, the center of pocket about opposite 
the lower button and placed on a line with the front seam 
of the sleeve. 

Skirt. The front corners to be provided with buttons 
and flap so that corners may be turned back when it is nec- 
essary to facilitate marching. Sleeve to be without cuff' or 
slit. 
Ornamentation of Overcoat. 

General Officers. A band of lustrous black mohair 
braid 1],^ inches wide, placed with its lower edge 2i/ inches 
above the end of the sleeve. A second band of lustrous 
black mohair braid Yz inch wide 1^4 inches above lower 
band. 

Aiguillcttes will be worn by officers of the General Staff 
Corps, and by the permanent and detailed officers of the 
Adjutant General's and the Inspector General's departments 
(including acting inspectors general), the officers of the 
Bureau of Insular Affairs, aids, the adjutant general of the 
United States Military Academy of West Point, N. Y., 
brigade and regimental adjutants, adjutants of coast artillery, 
district and coast defense commands, adjutants of engi- 
neer battalions, and military attaches. 

Thev will be worn with the full dress and with the 
special evening dress on all occasions, with the dress uni- 
form and white uniform under arms, and with the mess 
jacket and white uniform under arms, and with the mess 
jacket on special occasions. 



143 



By the Chief of Staff and Aids of the President they 
will be worn from the right shoulder; by all other officers 
from the left shoulder with the long pencil cord in rear 
and the short pencil cord in front, the loops crossing on 
the arm, the front loop on top. 

The short brass bar will be used except with the dress 
uniform, the hinge loop of the shoulder knot or epaulet pass- 
ing through it. With the white uniform this bar will be 
fastened underneath the shoulder loop of the coat and con- 
cealed thereby. With the dress uniform the long brass bar 
will be slipped lengthwise under the shoulder strap. 

With the full dress, the dress, and the white uniforms 



the front pencil will be hung on the top button right side, 
with full dress in case of the Chief of Staff and aids to the 
President ; left side in case of other officers, and the rear 
pencil cord, passing under the arm, on the second button, 
both cords, when the aiguillettes are worn from the right 
side, being so hung before the coat is buttoned. 

W"ith the special evening dress and the mess jacket the 
pencil cords will be hung on supports correspondingly placed 
beneath the right lapel in case of the Chief of Staff and 
aids to the President and beneath the left lapel in case of 
other officers. 




144 



PREPAREDNESS COAT 



This draft shows the style and Hnes of a popular 
coat termed the Preparedness coat The military tendencies 
of the day have given this coat a wide vogue. 

While the coat is drafted the same as all other coats 
over the New Supreme System, careful attention should 
be given to the double lines shown in the draft. Any prac- 
tical tailor will be able to draw up a pattern for this coat 
from the regular draft for sack coat. 

It should be noted that this coat closes with four but- 
tons, the front being straight. There are five seams inside 
and back, the same as the military blouse. Also that the 
manipulation of the front is accomplished by cutting where 
the pockets are placed, by extending a V up to the chest, 
and by pleating from the top dart in front to the under 
arm seam, which will open up this V to the extent desired, 
which may be in a greater or less degree according to the 
figure for which it is built. 

It should further be noted that this coat has side vents, 
medium width shoulder, and that the body is form fitting. 

The draft as shown on this page is drawn over the 
New Supreme System, over circtuuference measures. 

Breast 38 inches Waist Length. . . 16'/j inches 

Waist 32 inches Full Length . . . .30' '2 inches 

Seat 39 inches 

In working up this model from the regular draft be 
sure that you obtain the right sway at the waist and that 
the buttons are so placed as to make it appear to button up 
fairly well, also be sure and see that the width of sleeves 
are in conformity with the width of the body (this sleeve is 
drafted the same as regular sleeve shown in another sec- 
tion). The sleeve should not be too wide. Flap of pocket 
to button down as shown in the diagram. Careful observa- 
tion of the lines of this draft will enable the tailor to pre- 
pare a draft of this coat without further instructions. 




145 



SERVICE COAT 



Measurements: 38 breast; 33 waist; 38 seat; length of 
waist 163^ inches; full length 27 inches, one degree 
erect. 

TO DRAFT. 

A to B is 1/3 breast. 

B to Bl is 2% inches. 

A to D is the waist length. 

D to E is 6y2 inches. 

A to G is full length. 

Square out lines Bl, D, E, and G. 

Bl to H is 1/3 breast. 

H to I is 54 breast. 

I to T is 2 inches. 

Bl to J is ^ breast. 

J to Jl is three inches. 

Square down from Jl. 

Square up from T. 

H to HI is \y2 inches. 

Square up from HI. 

Bl to the star is J^ the breast. 

Square up and down from this point, to locate the ba.ance 
line. 

Bl to C is % the breast. 

Place corner of square on point T with the long arm rest- 
ing on C. 

Square up from T locating point F. 

Rule a line from C to T and from C to F. 

A to M is 1/6 the breast. 

Square up from M. 

M to Ml is K' inch. 

Rule a line from Ml to L. 

L to K is 1/6 breast. 

K to Kl is y% of an inch. 

L to LI is y inch. 

F to 9 is the same distance as from Ml to LI minus J4 
of an inch. 

9 to 11 is ^ inch. 

F to 10 is 1/6 breast. 
Rule a line from 10 to Jl. 

10 to R is 1/6 breast. 

Rule a line from 13 through R. 

From A to Al is >:^ inch. 

Shape top at back from Al to Ml, Ml to LI. LI to K. 

Shape arm hole from Kl around to 11. 

Shape shoulder seam from 11 to F, and neck hole around 
to R. 

From Bl to B2 is ^ inch, (erect one degree.) 

Square down from star with the short arm of square rest- 
ing on B2, locating XI, 2 and 3 as shown by the dash 
lines. 

Rule a line from B2 through the star and out. 

Square back and forth from XI. 

Square back and forth from 2. 

Square back and forth from 3. 

XI to Dl is Vi of the waist. 

.Square down from Dl. 

Rule a line from Al to Dl. 

Dl to O is 34 the waist. 

Fl to \' is 34 the seat. 

Rule a line from O to V and down to 5. 

From H to 4 is 5^ inch. 

Shape center seam of back from K to 4 

4 to O, O to V and down. 

XI to U is D/< inches. 

U to Ul is Vi the waist. 



Ul to Dl is waist suppression. 
Divide this amount in two equal parts. 
From O to Ol is 34 waist suppression. 
U to W is 34 waist suppression. 
From V to Z is 2 inches. 

Shape the back seam of fore part from Kl to 4 to Ol and 
down to 6. 




1 is one half way between U and W. 

Rule a line from I through 1 and down, locating point Y. 
Y to N and Y to Nl are each 34 inch. 
Shape under arm seam from I through U to Nl and down. 
From XI to P is 3^ the waist. 
P to PI is 3^ inches. 
O to 01 is ^ of an inch. 

Shape from 10 to Jl to PI and down through Ol to 7. 
Sweep back from 5, pivoting at 4, locating point 6. 
Sweep forward from 6 to 7, pivoting at F. 
.Sweep forward from 12 to 8, pivoting at 1. 
Shape bottom of forepart, allow 1 '4 inch button stand in 
the front and dress vj inch ofif of the left side. 

COLLAR. 

Rule a line from 14 to R and up. 

Measure neck hole of the fore part, as from Al to Ml, 
and F to R, and place this amount as from R to 2. 

2 to 3 is \y inches. 
R to 4 is 1% inches. 

Shape from 2 to R, and from 3 to 4, and finish as repre- 
sented bv dash line. 



146 



FULL DRESS— GENERAL— MOUNTED— U. S .A. 



Measurements l/^-j inches waist length, 33 full 
length, 3S breast, 35 waist, 39 seat. 

TO DRAFT. 

Square out and down from A. 

A to B is 1/3 breast. 

B to Bl is 2;4 inches. 

A to D is waist length. 

A to G is full length. 

Square out line Bl to D and G. 

Bl to H is 1/3 breast. 

H to I is 34 breast. 

I to T is 2 inches. 

H to HI is 1^/2 inches. 

B to J is Yj the full breast. 

J to Jl is 3 inches. 

Square down from Jl. Square up from T. 

Square up from HI. 

B to C is 34 breast. 

Place corner square on T with long arm resting on C, 

square up from T to F. 
Rule line from T to C. 
Rule line from F to C. 
PI to the star is ^ breast. 
Square up and down from this point which represents 

balance line. 
A to M is 1/6 breast. 
Square up to M. M to Ml is 1 inch. 
L to LI is ^ inch. 
Rule line from Ml to LI. 
Rule line from M to T locating K. 
F to AA is 1/6 breast. 
Sweep from AA to 10 pivoting at FF. 
X to O is 13^ inches. 
O to U is 3^ waist. 
Difference between U and D is suppression which should 

be divided in four equal parts as shown by 1, 2, and 3. 
The center seam is located at point 3. 
Square down from 3 and rule a line from A to 3 locating 

Dl. 
Dl to V is Ys breast, plus 34 inch. 
Square up and down from V locating G2. 
Shape top of back 34 inch above point A to Ml, Ml to LI. 
Come out 34 inch at LI and shape to K and from K around 

to V and down to G2. 
V to 6 is 3-4 of suppression as from 1 to 3. 
Square up and down from 6. 
6 to N is !4 waist. 

N to 8 is the remaining 34 suppression as from U to L 
HI to Z is 1/12 breast. 
From Z to 7 is Zi inch. 
From K to 5 is J^ inch. 

Shape side body from 5 through 4 and down through 6. 
Shape from 5 to 7 and 7 to 8. 
Shape bottom from 6 to 8. coming down '<2 inch at 6 and 

34 inch at 8 below waist line. 
F to 9 is the same distance as Ml to LI, minus '4 inch. 
9 to 12 is 34 inch. 
Rule line from 12 to F. 
Shape arm hole from 7 around to 12 and top of shoulder 

around to F. 
Square down from F. 

F to S is 1/6 breast, minus ^4 inch. Square out from S. 
X to P is 34 waist. 
P to PI is 334 inches. 
PI to p is 1/6 breast. 
Square back and forth from O. 
to 01 is ■54 inch. 



Shape front as from 10 through J 1 to PI and down to Ql. 

Shape side seam from 7 through N. 

O to 18 is 2Yi inches. 

18 to 19 is the same distance as from Q to Ql. 

Shape bottom of fore-part from ' j inch below N to 19 as 

shown. 
From R to 16 is 134 inches. 
Take out a "V" R to Jl and Jl to 16. 
16 to 17 is 434 inches. 
O to 15 is 3 inches. 
Shape front piece from 16 to 17 and 17 to 15 and lay up 

button holes as shown in diagram. 
Take out "V" between 18 and 19 about 6 inches up, also 

smaller "v" as shown. 
From 6 to E is 1/3 seat. 
Square back from E. 
E to W is 1/12 seat. 
Rule line from 6 through W down. 
W to 14 is 34 inch. 

6 to 13 is the same distance as from V to G2, plus 34 mch. 
15 lo 20 is the same distance as from 18 to 19. 
Square down from 20 to the waist. 

20 to 21 is 9 inches. 

21 to 22 is % inch. 

Rule line from 20 to 22 and down. 

20 to 23 IS 1 inch less than from 6 to 13. 

Shape top of skirt from 34 inch below 6 through 19 and 

out to 20 as shown. 
Shape back of skirt from this. From 14 to 13 and bottom 

13 to 23 and finish as represented in diagram. 




147 



DAY DRESS— GENERAL— U. S. A. 



Measurements : 38 breast, 33 waist, 39 seat. Length to 
waist, \6y2, full length 27, one degree erect. 

TO DRAFT. 

A to B is one-third breast. 

B to Bl is 2^ inches. 

A to D is the waist length. 

D to E is 6>2 inches. 

A to G is full length. 

Square out lines Bl, D, E, and G. 

From Bl to H is 1/3 breast. 

H to I is J4 breast. 

I to T is 2 inches. 

I to J is I/' f"ll breast. 

J to J 1 is 3 inches. 

Square down from Jl. 

Sqviare up from T. 

H to HI is 154 inches. 

Square up from H. 

Bl to the star is 3^ the breast. 

Square up and down from this point, locating the balance 
line, and point X. 

B to C is % the breast. 

Place corner of square on point T with the long arm rest- 
ing on C. Square up from T, locating point F. 

Rule a line from C to T and from C to F. 

-A. to M is 1/6 the breast. 

Square up from M. 

AI to Ml is 1 inch. 

L to LI is yz inch. 

Rule a line from Ml to LI. 

L to K is 1/6 breast. 

K to Kl is ys of an inch. 

F to 9 is the same distance as from Ml to 1^1, minus 34 
of an inch. 

9 to 11 is >4 inch. 

F to 10 is 1/6 breast. 

Rule a line from 10 through Jl- 

10 to R is 1/6 breast. 

Rule a line from 13 through R. 

From A to Al is 34 inch. 

Shape top at back from Al to Ml, Ml to LI. LI to K. 

Shape arm hole from Kl around to 11. 

Shape shoulder seam and neck hole from 11 to F and 

around to R. 
Bl to B2 is 34 inch ("erect one degree). 
Square down from the star with the short arm of square 

resting on B2, locating XI, 2 and 3 as shown by the 

dash lines. 
Rule a line from B2 through the star and out. 
Square back and forth from XI. 
Square back and forth from 2. 
.Square hack and forth from 3. 
XI to Dl is 34 of the waist. 
Square down from Dl. 
Rule a line from Al to Dl. 
Dl to O is J4 the waist. 
El to D is J4 the seat. 
Rule a line from O to V and down to 5. 
From H to 4 is 34 inch. 

-Shaoe back seam as from K through 4 to O 
XI to U is lyi inches. 
U to Ul is yi the waist. 
Ul to Dl is waist suppression. 
Divide this amount in two equal parts. 
From O to 01 is 3^ waist suppression. 
U to W is 3^ waist suppression. 



From V to Z is 2 inches. 

Shape the back seam of forepart from Kl through 4 t^ 
01 and down to 6. 

1 is half way between U and W. 

Rule a line from I through 1 and down, locating Y. 

Y to N and Y to Nl are each 34 inch. 

Shape under arm seam from I through U to Nl, and .lown 

and from I to W through N and down. 
From XI to P is 3^ the waist. 
P to PI is 334 inches. 
Q to Ql is ^ of an inch. 
Shape from 10 through Jl to PI, and down through Ql 

to 7. 
Sweep back from 5, povoting at 4, locating at 6. 
Sweep forward from 6 to 7, pivoting at F. 
Sweep forward from 12 to 8, pivoting at 1. 
Sweep forward from R to 18, pivoting at Jl. 
R to 18 is 134 inches. 
18 to 19 is 434 inches. 
PI to 16 is 1/6 breast. 
Square out from 16. 
16 to 17 is 3 inches. 
7 to 15 is 3 inches. 
Take out V from R to Jl, and Jl to 18, and shape front 

as from 18 to 19, and 19 thru 17 to 15. 
Shape bottom from 6 to 15, and finish as represented by 

the diagram. 

COLLAR. 

Rule a line from R to 14 and up. 

Measure neck hole of the fore part, as from Al to Ml, 
and F to R, and place this amount as from R to 2. 

2 to 3 is L)4 inches. 
R to 4 is 1J4 inches. 

Shape from 2 to R, and from 3 to 4, and finish as repre- 
sented by dash line. 




148 



MILITARY OVERCOAT. 

Measures as follows: 
Over the Vest. 

Breast 2i7 in. Seat 38 in. 

Waist 32 in. 

Add three sizes for Overcoat. 

Breast 40 in. Length to waist 18 in. 

Waist 35 in. Full length 45 in. 

Seat 41 in. 

TO DRAFT. 

Square out and down from A. 

A to B is 1/3 the breast. 

B to Bl is 2}i inches. 

A to D is the length to waist, J4 of the height plus 1 inch. 

(18.) 
A to E is the length of seat, 1/3 of the height, plus 2 inches. 

(24.) 
A to G is the full length, y'l of the height plus 12 inches. 

(46.) 
Square out lines Bl, E and G. 
Bl to H is 1/3 the breast. 
H to I is J4 of the breast. 
I to T is 2 inches. 
H to HI is 1>^ inches. 
Bl to J is 3^ of the breast. 
J to J 1 is 3 inches. 
Square up and down from Jl. 
Square up from T. 
Square up from HI. 
Bl to the star is J/2 the breast measure. 
Square up and down from the star, which represents the 

balance line. 
Bl to C is 34 of the breast, plus Yi inch. 
Place corner of square on point T, with the long arm rest- 
ing on C, square up from T, locating F, and AA. 
Rule a line from F to C, locating L. 
Rule a line from T to C, locating K. 
A to M is 1/6 breast, square up from M. 
M to Ml is 1 inch. 
Rule a line from Ml to L and out. 
F to AA is 1/6 the breast. 
Sweep forward from AA to 10 pivoting at F. 
Rule a line from 10 to Jl. 
10 to R is 1/6 breast. 
Rule a line from 4 through R and out. 
X to P is ^ waist measure. 
P to PI is iYi inches. 
Q to Ql is ^ of an inch. 
Shape front balance line from 10 through Jl, PI, Ql and 

down to 11, as shown by the dash lines. 
E to N is 1/3 of the seat, plus 1 inch. 
Rule a line from H through N and down. 
A to Al is Yx inch. 
L to LI is Y'i of an inch. 
K to 5 is 3^ inch. 

Shape top of back and shoulder from Al to Ml, Ml to LI. 
Shape from LI to 5. 
Come out 34 inch at 5, and shape side seam of back from 

5 through O, N and down to 6, coming out 34 inch at O. 
N to Nl is 234 inches. 
Rule a line from O through Nl and down. 
Shape the side seam of fore part from 5 through Nl and 

down, as shown. 
F to 9 is the same distance as from M to LI, minus % of an 

inch. 
T to Y is 1 inch. 



Shape arm hole of fore part from 7 around to Y, and up 

to 9. 
Shape lop of shoulder and neck hole from 9 to F, and F 

around to R. 
Sweep back from 6 to 8, pivoting at 5. 
Sweep forward from 8 to 11, pivoting at F. 

11 to 12 is 1 inch. 

Shape bottom of fore part from 8 through 12 and out as 

shown. 
PI to U is 1/6 breast, square out from U. 
R to S is 34 of an inch. 
Sweep forward from S to 3, pivoting at Jl. 
S to 3 is 1>2 inches. 
3 to 16 is 3 inches. 
Jl to 13 is 434 inches. 
U to 14 is 3 inches. 

12 to 15 is 3 inches. 

Rule a line from 14 to 15, and shape front as shown from 
S to Jl, Jl to 3, 3 to 16, 16 to 13 and down to 14. 

Lay up the five buttons about 43^ inches apart. 

Take out a V in the fore-part, and lay up the pocket, also 
2^) -inch belt in the back as shown. 

Extend a vent from the seat line down. 




149 



COLLAR. 
Measure the distance between Al and ML 
Place this amount on F, and continue around to S. 
Place this total amount on line R4, as shown at point 
Square up from 2. 

2 to 3 is 1 inch. 

3 to 4 is 1^ inches. 

4 to 5 is 3 inches. 

5 to 7 is lj4 inches. 
Rule a line from 4 to 7. 



4 to 6 is y& of an inch. 

7 to 9 is 3 inches. 

F to 8 is ^ of an inch. /^ 

8 to 10 is 3 inches. 

Shape the stand of collar from 3 around to S, 3 to 6, and 6 

to 7 as shown. 
Rule a line from T through 7 and out. 
Shape top of collar from 6 to 5, through 8 to 7, 5 through 

10 to 9. 



CIRCULAR AND MILITARY CAPES 



In view of the fact that it is often required that the 
cape fall to a certain position on the hand or arm, it is 
advisable to take measurements from the neck over the 
shoulder and down to side, as well as back length from 
back of neck down, and front length from throat down. 

The Draft zvas Produced from the Follozi.'ing Measures: 

Breast 36 in. 

Back length 26 in. 

From neck over shoulder and down at side 28,^ in. 

Front length 26 in. 

TO DRAFT. 
Square out and down from A. 
Square up from A. 
A to C is 1/6 breast measure. 
C to B is 1/3 breasti measure. 
Square out from C and B. 
B to F is 3^ breast measure. 
F to G is 3J4 in. 



G to W is 1/6 breast measure. 

A to H is 1/6 breast measure. 

Rule a line from H to W and down. 

A to T is 1/6 breast measure. 

Square up from T. 

T to R is ^ inches. 

Square out line H-O by line H-W. 

H to M is 1/6 breast measure. 

Rule a line from E to M. 

Shape neckhole from A to R, R to M and out. 

M to N is 1/3 breast measure. 

N to P is 1^ inches. 

Rule a line from H to P. 

Square down from P. 

Apply back length from A to D. 

Apply side length from R to J. 

Apply front length from M to Q and shape as shown by 

solid line from D to J and S. 
Shape from X to P and S and circular cape is completed. 



MILITARY CAPE 



Is produced from same pattern by cutting it open from 
R to E and plait as shown by illustration from E to J and 
U, leaving opening as shown by dotted lines from R to K, 
reducing width at bottom and front. Dot and dash lines 
illustrate military cape, as shown by points A, R, E, K, L, 
Y, U and D. 

It will be noticed that cutting a cape is a very simple 
matter. It must be properly balanced to allow the full- 
ness to fall in graceful folds. All of these garments are to 
be made before the collar is put on. Neck being on the 



bias of the cloth necessitates that a tape shall be basted on 
the neck to remain there until the cape is ready for the 
collar. Capes lend themselves to various styles and lengths, 
the accompanying drafts forming the groundwork. These 
are intended for style of opening through the facing with 
fly or without button stand. Some are made with lapels 
and collars to turn down and others in military style as 
shown in illustration in regular cape. Any style of collar 
desired can be attached to these capes for the reason that 
the neckhole of the cape is the same shape as regular coat. 



150 



Circular and Military Capes 




151 



REGULAR CAPE 



Cape is cut with seams over the shoulders and meas- 
ures used for illustration are as follows : 

Back length 32 in. 

Breast measure 36 in. 

TO DRAFT. 
Back Part 

Square out and down from A. 

A to C is 1/6 breast measure. 

A to E is full length of cape. 

A to T is 1/6 breast measure. 

T to R is M inch. 

Square out from C. 

C to F is J^ breast measure. 

F to G is 2 inches. 

Square down from F. 

F to H is 2/3 breast measure. 

Front Part 
C to Z is ^ inch. 
C to B is 1/3 breast measure. 
B to D is 1^ inches. 
Rule a line from A to D. 
Square down from D. 



E to M is 3 inches. 

Shape as shown in illustration from R to S, S to D and 

down to L and from L to K. 
S to is iy2 inches. 
L to N is lyi inches. 

Shape button stand as shown by dash line. 
Square out from H. 
H to I is 5^ breast measure. 
Rule a line from R to G. 
Rule a line from G to I and down. 
Sweep forward from point E, using point R as a pivot, 

finding point J. 
J to K is 3 inches. 

Shape as shown in illustration from A to R and R to G. 
Shape from G to I and K and shape from E to K. 

COLLAR. 
S to 3 is same distance as A to R and R to S. 
From 3 to 2 is 134 inches. 

Shape as shown in illustration from S to 3 and S to 2. 
From 3 to 4 is 4 inches. 
From S to 5 is 4 inches. 

Shape as shown in illustration from 2 to 3, 3 to 4, 5 to 4, 
and S to 5 and finish. 



152 




153 



MILITARY RIDING BREECHES 



Measurements: 32 waist, 38 seat, 9 inch rise, length 
to knee 14 inches. Lower knee 17J/2 inches. To calf 21 
inches. Full length to ankle 27 inches. Circumfeience 
above knee 15 inches. Below knee 13>^. Calf 14. Ankle 
10. 

TO DRAFT. 
Square out and down from A. 
A to B is the length to knee, plus l^i inches. 
A to C is the length below knee, plus 1^4 inches. 
A to D is the length to calf, plus 1>^ inch. 
A to E is the full length, plus l^A inch. 
Square out from B, C, D, and E. 
A to F is >^ seat. 
F to G is 1/6 seat. 
G to H is 1/12 seat. 
I is half way between A and H. 
Square up from I. 
I to J is 9 inches. 
J to K is y2 inch. 

Rule a line from I to K, and square back and forth. 
K to L and K to M are each 34 waist. 
H to V is 1/6 seat. 

Rule a line from K through I and down to T. 
N to O is 54 knee. 
P to Q is 54 below knee. 
R to S is 54 calf. 
T to U is 34 bottom. 
N to 2 is 1 inch. 
T to 3 is 1 inch. 
Rule a line from 2 to 3. 
B to 4 is 4 inches. 
A to 5 is 1>4. 
O to 6 is 34 inch. 
Shape fore part from L to G, coming in three-eighths of 

an inch at V. 
Shape side seam of fore part from G through 6, 0, S and 

down to U. 
Shape outside seam from M through 5-4-2 and down to 3. 
Allow 134 inch waist band at the top, and finish the fore 

part as represented by the heavy lines. 
Cut the fore part out, and lay on another paper, and con- 
tinued with : 

BACK PART. 
Extend the lines. 

Sweep forward from M to X, pivoting at V. 
Sweep back from M to Z, pivoting at 5. 
Sweep forward from G, pivoting at 0. 
W is half way between K and L. 
Rule a lire from W to V, and up to X. 
G to 15 is 1/12 seat. 
5 to 9 is 2 inches. 
Rule a line from Z to X. 
X to Y is 34 of the waist. 
Y to Z is lYi inches. 
Z to H is 3 inches. 
8 to 7 is 1 inch. 
Apply the width above knee from 2 to 6 and 6 to 10 plus 

1 inch. 
Apply the width below the knee from PI to O and Q to 

11, plus 1 inch. 
Apply the calf from Rl to S. and from S to 12, plus 1 

inch. 
Apply ankle from 3 to U and from U to 13, plus 2'/ inches. 
10 to 14 is Yz inch. 



Shape the upper part of back part from X to V, and out 

to 15, as shown from 1 through 6 to O. 
Shape side seam from Z to 9, and down to 14. 
Shape bottom from 14 to Q. 
This part is stretched out 34 inch. 
Shape bottom section of back part, as from 10 to 13, and 

from Q to U. 
Take out a 1 inch \' directly below 3. 
Allow 34 inch extra for the length at bottom, and -cillow 

134 inch waist band at the top, and finish as "epre- 

sented by the heavy dash line. 




J u 



154 



FASHIONABLE RIDING BREECHES 



Measure as follows: Rise 10 inches, seat 38, waist 
32, length to knee 14, below knee 17, full length 20, width 
of knee 14, below knee 12^^, bottom 13. 



TO DRAFT. 
Rule a line A to D. 
Square out from A. 
Square up from A. 
A to E is ^ seat measure. 
E to G is 1/6 seat measure. 
F is half way between G and E. 
H is half way between F and A. 
Square up from H. 
From H to I is ten inches. 
From I to J is 5^ inch. 
Square forth and back from J. 
J to K and J to L is each 34 waist measure. 
Rule a line from F to K. 
From E to M is >4 inch. 
Square down from M by line H-M. 
From M to N is length to knee plus lyi inches. 
From N to O is 3}^ inches. 
O to P is j^ of an inch. 
Rule a line from N to P and down. 
P to 4 is 33^ inches. 
Square back from N by line N-4, and square back from 

P by same line and square back from 4. 
From N to Q is 34 knee measure plus 1^4 inches. 
From 4 to 5 is 34 bottom measure plus 1 inch. 
Extend two inches at point A and shape up front part as 

per illustration from L to O, R and 5, and from K to 

G and from G to N, P and 4. 
Extend waist band as indicated and lay up front bearer 

for small fall. 
Cut out front part, lay on another paper and commence 

to draft. 

BACK PART. 
Extend line from I up. 
Sweep forward from G. 
Square across from N, P and 4. 
From I to U is 1/6 seat measure. 
Rule a line from F to U. 
From U to W is J4 waist measure plus 1 inch. 
From U to Y is 3^ seat measure plus 1 inch. 
The difference between points W and Y is the "V" taken 

out between 2 and Z mintis two seams. 
Apply knee measure, plus 1 inch, from Q to N and N to S. 
Apply measure for below knee, plus 1 inch, from R to P 

and P to T. 
Apply measure for the bottom of the trousers, plus 1 inch. 

which would be same as over the calf, from 5 to 4 

and 4 to 6. 
G to X is 1/12 of seat measure. 
Shape as per illustration from W to G and X. from X to 

N, P and 4, from Y down to S, minus V2 inch at that 

point, and from S to P on the upper part of trousers, 

and again from S to P on the lower part of trousers. 

and from 6 to 4. 
The total amount of 134 inches should be taken out at the 

knee of the back part and the upper part of same 

should be stretched so as to make it the same width as 

from P to S on the lower part. 




155 



CHAPLAIN AND KNIGHT TEMPLAR COAT 




^^4^ 




SINGLE-BREASTED FROCK COAT 

For Clerical, Chaplain or Knight Templar Styles Rule a line from 17 through 22 and down. 

Breast 38 in. Nat. waist length. . . 16>2 in. Space the front for eight buttons, as illustrated. 

Waist 39 in. Fash, waist length. . 18 in. COLLAR. 

Seat 33 in. Full length 40 in. This diagram is illustrated in the center of the skirt. 

Height 5 ft. 8 in. Square up and out from 2. 

There is no difference in drafting garments of this 2 to 3 is ^4 of the neck circumference, or the distance from 
kind, so all systematical points would be obtained in the Al to Ml, continuing from F around to R on the draft, 

same manner as for the regular frock coat. The only differ- 2 to 4 is 1% inches, 

ence is that these garments have a straight front, and but- 3 to 5 is the same, 

ton up to the throat in Military Style, and have the standing Rule a line from 4 to 5. 

collar. See the fashion illustration above pertaining to 6 is between 2 and 3. 

same. Square up from 6, locating 7. 

R to 6, J to 13, PI to 14, 01 to 17 are each lyi inches 8 is between 3 and 5. 

for button stand. Shape from 2 through 6 to 8. 

Square down from 14 by the waist line. Square up from 8. 

17 to 21 is 9 inches. 8 to 9 is 1% inches. 

21 to 22 is 54 of an inch. Shape top of collar from 4 through 7 to 9. 

156 



Individuality 



Character 



and 



Novelties 









-^« 



WrHftf 



1 ';^ 



•" >\ 



!J'i"7vi;W^ ■- 



^\ 'i f 




157 



The clothes we wear bear such an intimate relation to our comfort, well being, and even to our 
efficiency, that we cannot ai?ord to overlook the importance of utility and convenience, propriety and 
adaptability, in choosing them. 

From another standpoint, costume influences to such an extent the effect of personality, that it 
behooves us to give sufficient thought to character and quality, style and make-up, to insure a becoming 
and seemly ensemble. Indeed, for such an end, and for humanity at large, it is not too much to say 
that every resource within the reach of the costumer should be brought into requisition to provide 
each man with habiliments suited to his calling on the one hand, and to his physical type and the style 
of his personality on the other. 

"Costly thy habit as thy purse can buy; But not expressed in fancy; rich not gaudy; 

For the apparel oft proclaims the man." 

I commend to your consideration this quotation, borrowed from so lofty a source, but the "cost" 
need not necessarily mean a great expenditure of money. Let us take it to refer rather to the co- 
ordination of every means to so great an end, the utilization of every artistic effect in the way of 
symmetry of proportion, balance of parts, variety of style, disposition of drapery, adaptation of types, 
harmony of coloring and beauty of design, for the attainment of so valuable a purpose. Holding in 
thought the ideal model, the Sartorial Artist molds and shapes, exaggerates or suppresses, emphasizes 
or minimizes, by skillful manipulation of the plastic material which is his stock in trade, until cloth 
and canvas, silk and wool, take shape and assume character, fitly to clothe the form, and worthily to 
express the personality of his client. 

While we are considering style, fit, measurements, patterns, proportions, variations, heights, 
circumferences, system, we are governed by the rules and principles of the science of our craft. But 
when we speak of individuality, we come into the domain of art, albeit the Sartorial Artist must be 
master of technique in order to develop his ideals, just as the sculptor or the musician must have 
command of the tools of expression before he can execute a work of art. 

The different types of humanity pass in review before us in the busy marts of life, and each 
possesses what we call individuality, or personality, a quality inseparable from his very inmost self, 
the proper development of which constitutes the attraction which each normally exercises, in varying 
degrees, it is true. To recognize this quality, and to interpret it appropriately through the medium 
of clothes, is the province of the Custom Tailor, who enjoys the peculiar privilege of working upon 
the living model, and expressing his ideals in the plastic material of the every-day habit of humanity. 

In some instances blemishes or faults need to be obscured, or oddities cleverly dissembled, and 
this latter can often be accomplished so successfully that idiosyncrasies are made to seem attractions; 
while in other cases pleasing features may be brought into prominence. 

To be able to do all this it is necessary as stated above, to acquire mastery of the science of 
Clothes Cutting and Tailoring as a foundation; but it means infinitely more than this. It implies the 
exercise of the higher faculties of insight, imagination, judgment, discrimination, and actual artistic 
taste and power of expression. 

The resources at the command of the Custom Tailor are adequate to the production of widely 
varyin.o; effects, to suit every type, and to delineate the best in all. "Fashion is a potency of art," 
Stedman tells us. 



158 



To illustrate roughly how costume portrays types by adaptation of style to requirements of 
occupation and occasion, I wish to call your attention for a moment to the models depicted on several 
of our Authoritative Fashion Charts. Witness, for example, how the jaunty grace of the Young Man's 
Sunday Morning Frock defines the youthful lines it is designed to adorn ; contrast the refined abandon 
of this blithe and charming model with the sedate and imposing dignity of the regulation Prince Albert, 
featured in the same plate. Again, the simple lines of the sack coat lend themselves to variations suited 
to the several types on which they are displayed. Turn, then, if you will, to the Chart showing sport 
clothes. "Look on this picture, then on that." We are in a different atmosphere now. The air of 
sprightliness, the dash and vigor of each of these trim figures is compatible with appointments in 
keeping with the pursuits of each. Numerous and commodious pockets for the rider and the hunstman, 
who go far afield; knee breeches that fit closely over the joint, reinforced by high boots, for cross 
country riding, and tramping through field and marsh. The disposition of pleats on the shoulder of 
the golf coat is a clever device, admitting of free athletic motion. The easy grace and coolness of the 
tennis costume adapts this mode for the sport for which it is designed. 

The same principle of individuation which distinguishes the clothing of different classes, and that 
suited to the various employments, occasions, pursuits and amusements with which humanity is 
occupied, involves a subtler method of differentiation when applied to the problem of adapting a 
particular mode to the uses of an individual subject. In the delicate process of harmonizing a model to 
the personality of his client, the Custom Tailor knows how to attain the effect most becoming by 
molding, shaping, draping, in some cases, and by exaggeration and manipulation in others. 

Only the initiated know how widely varying effects can be achieved by such simple expedients 
as a slight change in the position and direction of seams, the shape and outline of lapel and collar, and 
the character of finish. The artist, by way of analogy, sketches into his drawing, with a few deft 
strokes of the pencil, a profile of classic beauty, or a mask of comic plainness. (Who was it told us 
that if the nose of Helen of Troy had been half an inch longer or shorter, the history of the world had 
been different?) 

The possibilities that exist in the portrayal of personality constitute the strongest, and in fact 
the only unanswerable argument for the supremacy of Custom Tailoring over the product of the 
clothing manufacturer. It is true that myriads of different styles may be evolved, and in a bewildering 
variety of materials. In fact ingenuity is taxed to its utmost to offer for selection an ample choice of 
models, developed in every conceivable mode, and from every fabric woven. But the man who buys 
his clothes of the merchant clothier is the victim of a hit or miss system of choice, and can never 
realize the satisfaction enjoyed by the wearer of clothes made to order by a competent Custom Tailor. 
The graded models of the ready made dealer, from which hundreds and perhaps thousands of gar- 
ments are fashioned, may meet the requirements of style, but they can never be the medium of expression 
of the individuality of the man. 

By the appHcstion of the principles of the science of the craft, and by study of the canons of 
art, the Custom Tailor is enabled to interpret the personality of his client in terms of grace and 
elegance, and to make a presentment of each subject which shall show him to the best advantage. 
This property of individuality of the clothes made by the Custom Tailor is appreciated by the man 
of discriminating taste, and it will always be the cultured classes who will be the patrons of the Custom 
Tailor. Once he grasps the significance of this idea, the man of discernment can never ap^ain be 
satisfied with the machine-made garment, into which the elusive element we term individuality can 
never enter in the same manner and to the same extent as in Custom Tailoring. 

The Tailor who realizes his mission has the satisfaction of knowing that he is fulfilling an office 
worthy of the best endeavors of the man of brains and talent. 



159 




SINGLE-BREASTED NOVELTY OVERCOAT. 



Drawn from the normal height (5 feet, 8 inches). 
Measurements: 38 breast, 33 waist. 39 seat. 
Length of coat 41 inches. 

Measures taken over vest with 3 sizes larger than 
normal 



All points obtained in the same manner as stipulated 
for regular coat according to thel New Supreme System. 

The special feature of this coat is the crescent side V, 
the shape of the lapels and the placing of the button holes 
together with the long center vent. 



160 




NOVELTY PADDOCK. 



Seat 



38 in. 



Measurements over vest : 

Breast 37 in. 

Waist 32 in. 

Three inches allowed for overcoat. 

This coat is drafted the same as any other frock over 



the New Supreme System, special features being the one- 
piece front, and the treatment of the back, which is cut off 
at the waist line. Skirts are slit open from the bottom up 
to the waist line and spread out to give the skirt the wider 
flare, according to taste and requirements of the figure for 
which the draft may be made. 



161 




PROSPERITY COAT. 



Measurements over vest : 

Breast 37 in. .Seat 38 in. 

Waist 32 in. Length 35 in. 

Three sizes allowed for overcoat and 3 special sizes 
more for enlargement. This coat is drawn in, the usual 
manner over the New Supreme System. 



Special features of this coat is the splitting of front 
and back to give flare, the placing of patch pockets and 
buttons; also the lines ard styles of lapels and shoalder 
seams, the latter being placed well towards the front. There 
will be no difiPcultv about drafting pattern for this coat if 
careful atteition is given diagram and directions. 



162 




NOVELTY BUSINESS FROCK. 

RTeasurements over vest • 

gy^i^f 38 in, ■ Waist lengtii 17 i„ '"ri™" f "" ''"f "'"^^ °'' ^'^^^ "^^""t pockets, and the V 

ZT ^^ i"- I'~"ll length ]4 ' xv^J'T] ^'fe pockets up to breast pocket . 

^"^V- -. 30 in. " '"• ; ,!d h o back from 3 to V is 1/6 waist measure 

to the N '°q' '■' '^''' o"' °^^'" ^'^^ "S"^l points pccordinc. Vol jhft II f^^ ^',°''- ^ '° ^^ '^ ^ ^^^^t measure, 

to the New Supreme System. Special features are the o^- ,om .nd that the' Y '"h"' " "'S^^^-^'f^t across the hot- 

mm, ana tnat the A extends mto the skirt. 

1(3 




NOVELTY MORNING FROCK. 



Measurements over vest : 

Breast 36 in. 

Waist 31 in. 

Seat ■. ^7 in. 



All points obtained in the nsual manner over the New- 
Waist length 17', J in. Supreme System. Specialfeature of this coat is the smart 

Full length 3.=; in. effect of the V's and shaping of the skirt. The lines and 

Height Xormal style of the front of this coat are worthy of careful study. 

164 




NOVELTY DANCING COAT. 

Measurements over vest: 

Ilreast 3(i in. Fashidualjlc waist 

Waist 31 in. length 18^4 in. 

Seat ^7 in. Full length of coat. 32 in. 

Waist length 17 in. Height ' 58 in normal 

.\11 points obtained in the usual manner by the Xew The sleeve is the one usually drafted according to the 

Supreme System. Special features of this coat are the rise Xew Supreme System, except that for this model the 

of shoulder and the placing of pockets and side Y'^; also gh,, voider is somewhat narrow and this sleeve is there- 

that unusual shape of the bottom of the back. The bold .^^^^^ tre'ited is i)er variations fnr narrow shoulder. A 

curved front, with the placing ..f the \' in thr tront : ;■ ; correspond with the lapels, which, 

gorge, and the general style, wTiich will be appreciated l:v a ^'■'^ ^"" '■ ''""<^'-' ^ . / ^ . .. .,, 

.■areful study of the illustration. when completed, are laced to the edge with silk. 

165 




NOVELTY DINNER JACKET. 



Made for Figure of Normal height. 

Waist length 17 in. Breast 38 in. 

Full length 30 in. Waist measure 33 in. 

Weight 155 pounds Seat measure 39 in. 

TO DRAFT. 

All systematic points are obtained in the usual manner 



over the New Supreme S3'stem. The special features of 
this coat are the design, shape and style of the collar and 
lapels, the square cut front and the placing of the pockets, 
as per illustration, and the swayed sides. This model is 
worthy of careful study as it can be utilized to good ad- 
vantage in the development of some very becoming adapta- 
tions. 



166 




NOVELTY DRESS COAT. 

This coat is made for a man of average height, 36 
inches breast, 31 inches waist, 17 inches waist length, full 
length 38 inches. 



TO DRAFT. 

All systematic points are obtained in the usual manner 

stipulated in the New Supreme System. Special features of 

this dress coat are its shape, line and style. Note the short- 

waisted effect and side body cut straight across at bot- 



tom ; also that the V is taken out of the skirt and curved 
front with chesty effect. 

This diagram will repay careful study, as it is de- 
veloped on specially good lines, which may be reproduced 
to advantage in this style, and in styles to come. 



167 




CHESTY SACK COAT. 



This diagram is drawn in the usual manner from the 
New Supreme System over any size that may be desired. 

A special feature of this coat is the V taken out from 
the side, extending up to the chest, which is effected by 



pleating of the pattern one-half inch at point 12, and again 
reshaping the side and front parts, as per the shaded por- 
tion. This manipulation has proved to be a valuable one 
in a coat where a hisfh chest is desired. 



168 




COLLEGE SACK COAT. 



This coat may be drawn from any size desired, and is 
shown for the special purpose of enabhng the student to 
study the lines and style on which it is built, which are 
unique and attractive. It is laid up for a figure of average 
height and circumference, according to the manner stipu- 
lated by the New Supreme System. 



A special feature of this garment is the method of 
taking out the \"s from the side and front, and from the 
side pockets, extending to the front end of the breast pocket. 
The curves of the pockets, and the general effect of this 
garment should be carefully noted with a view to applica- 
tion when needed. 



169 




■'m/mmwmmM 



RIDING BLOUSE. 



This Riding Blouse can be drawn according to the 
measurements of any size, in confonnity with the New Su- 
preme System. 

It is drafted as a regulation sack coat and inserts are 
made in the back as shown in the white space The front 
is yoked, and a pleat is inserted in the white spare A belt 



is attacled at the waist line, and drawn rather tight. The 
flaps at the breast and side pockets are wide and button down 
as shown in the diagram. 

Understanding of the method of application of the New 
Supreme System, and reasonable judgment in its applica- 
tion, will enable the student to luake a successful draft of 
this model, according to any measurements desired. 



170 




RIDING SACK. 



This ndmg sack can be produced in any size according 
to the proportions given by the New Supreme System. A 
special feature of this coat is the pleated pocket'; also the 
straight front, and addition of three-fourths of an inch to 
the width from N to N2, and the added width of the three 



and one-fourth inches from N to Nl, giving the coat con- 
siderable spread, while the wide V and the shaped side 
make a form-fitting body. The center vent is extended up 
to one-half inch of the waist line. 



171 






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NOVELTIES IN VESTS. 

\'arious novelties in vests are herewith presented for 
the special purpose of showing the lines and styles, manipu- 
lations, «tc., for different designs. In all these designs the 
system is utilized in the manner as previously described. 

Diagram A shows the vest with a notch collar, having 
an extra collar stand, and special chest V from pocket up. 
Note shape from F to 7 on the front part, and the exten- 
sion at point 7 for collar. Draw line 2 to 3. From 3 to 
4 is ^4 inch. 

Shape as per illustration from 4 to 2, and shape up 
notch as shown in diagram. Take out V in the front of 
pocket, and extend same amount to side of front as per 
dash line. In other respects this vest is the same as per 
system. 

Diagram B shows a single breasted vest shaded with 
the extension for double breasted as shown. The usual 
amount added at the front for double breast is 3J^ inches 
over chest, and 2jX inches at bottom. 

The dotted line shows the double breasted vest over 
chest and single breasted vest at bottom. The V taken out 
from the pocket is for the purpose of closing the edge 
at the opening, and the same amount as that taken from 
the pocket is extended at the side of the front part. 3 
inches is deducted from the regular width of shoulder 
so as to give the vest the athletic effect. In other respects 
it is drafted the same as normal. 





Dias^raiii C is drawn the regulation way but presents 
a notch collar vest. Here the collar and front part are 
cut in one piece. It also shows the narrow shouldered 
effect, and the V from the pocket up to make it chesty, 
with the extension also to side of front part. 




Diagram D shows a sporting vest, and is in a sense 
self explanatory. It is cut with a yoke, pleated front, 
waist, skirt, athletic shoulder and kimono armhole, with a 
turn over lapel. Scientific points are obtained in the usual 
manner. 




is_L^ 



Diagram E shows a novelty dress vest with right angle 
collar, to button down, while the pockets are piped ; with 
the special V in front, and with long points. This vest 
is published for its special design. 




Diagram F shows a double breasted vest of special 
design drawn according to the regular system. Of special 
interest is this novelty vest, which is made by taking off 
the shoulder of the back, and adding the same to the front 
with an Inverness armhole, and diamond shaped front. 
The notch collar is cut in one piece with the front. 



174 







Diagram G is specially published to illustrate the mani- 
pulation of the front part by cutting open the pattern from 
W to 3, and from 3 to 5. 

Pleat pattern from 5 to 8 so that it presents the shape 
of the dotted line when the V is shaped in such a way as 
to close in the opening of the vest, which is the purpose of 
this manipulation. 




Diagram H shows a novel double breasted full dress 
vest. It is published with a view to showing the special 
V' in the front part and the extreme U shaped opening. 
This vest may be drawn up by regulation system subject 
to the lines herein illustrated. 




Diagram L shows the vestette, a garment worn with 
the dinner jacket in the summer time, or in connection with 
the dancing suit. The buttons in front are mere ornaments, 
as the actual fastening takes place in the back. 

The illustration presents a vest for a man 32 inches 
waist measure. 

TO DRAFT. 

Square up and down from A. 
Square forward and backward from A. 
A to B is y2 waist measure plus 1^ inch. 
A to C is waist measure plus 1^/2 inch. 
A to D is IVi inches. 



A to G is 3j'2 inches. 

C to N is 2!/2 inches. 

C to M is 1 inch. 

B to H is 6 inches. 

Shape as per illustration from M to C and N. 

Shape from N to D and L. 

Shape front from L to B and make points 3 inches long. 

Shape as per illustration from N to G and to the lower 

point. 
Take out J4 inch on each side of point A. 
Shape as per diagram from D to G and E to F. 
Lay up pockets and make button stand as per illustration, 

and finish as presented. 



175 



FASHIONABLE RIDING BREECHES 



These Breeches are cut to button 44 inch inside the shin 
bone, and are considered the real thing among the 
Horsy People of Today. 

TO DRAFT. 
Proceed as Follozvs: 
Waist, 32; seat, 38. 
Rule line A to B — Diagram Xo. 1. 
C to I 18 plus one inch. 
C to B. 21 inches plus one inch. 
H is 2-)4 inches above I which is knee length. 
Square across from C, B, I and H. 
C to D 3/2 seat measure 19. 

D to E is J/^ seat and to F Ij/ inches always. . 
Figure 1 is ^ inch above C. 
Square vip from D guided by Fig. 1. 
Balance line G is half way from C and E — square up and 

down. 
Fig. 2 is one inch from balance line, draw a line from 2 to 

3. shape as represented. 
3 to 6 is 3^ inches. 
7 to 5 is 3J4 inches. 
Draw a line from J^ back of F to 5. 
D to J is 9 inches for rise. 
Square back from J guided by D. 
T to K is ^ waist measure plus j4. 
Shape inseam and crotch as represented. 



Shape side seam as represented, and mark knee buttons, 
which never should be more than ^ inch apart. 

Knee notch is one inch above the first button. 

The shaded lines on forepart, v^'hich is one inch at inseam 
to nothing at side seam is plaited before drafting the 
back part. 

Extend both ways, lines C and F — Diagram No. 2. 

H and 4. 

T and 5. 

B and 6. 

F to 8 is 1/12. 

D to L is Ayi inches always. 

Place corner of square at L long ami resting on C, draw a 
line to top of waist band continuing same line down- 
wards as represented. 

Top of back at seat seam is 4 inches above top of fore-part. 

5 to 9. 11 inches plus 1 inch. 

6 to 10 is 12J4 inches, plus 1 inch. 

Apply waist measure to waist and shape as represented. 
Shape side seam of back part, 3 inches is normal addition 

on back part at hip line 
Take cut at bend of knee on back part as represented 

you will find -54 inch fullness on back part which must 

always be fulled in. 
.A cut of -'{J inch must be taken out of shaded i^art <>n fore- 

I)art not to extend very far m knee, so the knee strap 

ping will cover the cut. 



176 





177 



DOUBLE-BREASTED ULSTER 



Measurements, over sack coat, 40; breast, 35, waist; 
41, seat; length to waist, 18; length to seat, 24; full length, 
47. Exaggerated 3 sizes. 

TO DRAFT. 
Square out and down from A. 
A to Z is 2% inches. 
Z to B is 1/3 of regular breast. 
A to N is the length to waist. 
A to 2 is the length to seat. 
A to D is the full length. 
Square out lines B, N, 2 and D. 
B to E is 1/3 the regular breast. 
E to G is J4 the regular breast. 
G to T is 2 inches. 
T to TT is }i inch (representing % inch for each size of 

exaggeration). 
Square up from TT. 
B to EE is 1/3 exaggerated breast. 
EE to H is 1^2 inches. 
Square up from H. 
B to L is 3^ the exaggerated breast. 
L to M is 2J4 inches. 
Square down from M. 
B to C is 34 regular breast. 
C to CC is •y4 inch (representing % inch for each size of 

exaggeration). 
Place comer of square on TT with long arm resting on CC. 
Square up from TT locating point F. 
F to A A is 1/6 the breast. 
Sweep forward from AA pivoting at point F. 
K is '^ inch forward of this sweep line. 
Rule a line from F to C. 
A to V is 1/6 regular breast. 
Square up from V. 
V to I is 1 inch. 
Rule a line from I to J- 
Shape top of back as shown from % inch above point A 

to I and from I to J coming out % inch at this point. 
N to NN is y2 inch. 
Rule a line from A through NN and down locating point 

DD. 
Square forward from DD to 5 on line DD-NN. 
H to S is 1 inch. 

Rule a line from J, through S and down locating point 5. 
H to W is 1/12 regular breast. 
Square out from W. 

Shape back of armhole as from J to 4 which is ^ inch 
forward of W. 



F to 9 is the same distance as from I to J minus ^ inch. 

K to KK is 1/6 of breast. 

Rule a line from 3 to KK and out. 

Shape armhole of forepart as from 4 around to point 9 
and top of shoulder from 9 to F. 

Shape neckhole and gorge as from F around to KK. 

From B to the * is 3^ the exaggerated breast. 

Square up and down from this point, which formulates 
the BALANCE line. 

X to O is 33^ inches. 

O to P is 3^ the exaggerated waist. 

O to R is 3/ inch. 

Shape front balance line from K to M to P and through 
R and down. 

Sweep back from 5 to 6 using 4 as a pivot. 

Sweep forward from 6 to 7 using F as pivot. 

7 to 8 is 134 inches. 

From U to Y is 5 inches. 

Rule a line from S to Y and down locating point 6. 

Shape bottom of forepart from 6 to 8 and out. 

Extend a button stand of 4 inches out from M, P, R and S. 

Rule a line from K to TT locating 14. 

Lay up crease line from top button through 14 and up 

Lay up lapel and pockets and finish front as shown. 

Lay up the addition for the inverted plait in the center 
seam. 

From C to 12 is 2 inches and from D to 13 is 3 inches. 

Rule a line from 12 to 13. 

Lay up a belt 3 inches wide as shown which completes the 
diagram. 

To produce an extra amount of flare to the skirt of fore- 
part, split the pattern on a straight line up to 34 inch in 
front of point O and along the waist line to the side 
seam. Open same 3 inches as from 10 to 11 indicated 

by the dash lines. 

COLLAR. 

Sweep back from AA to locate point 2 and 3 pivoting at 
point F. 

2 to 3 is ^r, inch along the sweep line. 
Shape a crease line from 3 through 14. 
14 to 4 is 2 inches. 

4 to 5 is 3^ inches. 

3 to 6 is 334 inches. 

3 to 7 is the collar stand of '4 inch. 

Shape from 7 around to 4. from 7 to 6 and from 6 to 5 
and finish are represented. 



178 




179 



SPORTING RAGLAN— KIMONA SLEEVES. 



Measures used as follows : Breast, 40 ; exaggerated 

breast, 44; seat, 41 ; exaggerated seat, 45; waist length, 18; 

seat length, 25 ; full length, 44. 

T(J DRAFT. 

Square out and down from A. 

A to B is 1/3 regular breast plus 3% inches. 

A to C is waist length. 

A to D is seat length. 

A to E is full length. 

Square out from B. C, D and E. 

B to F is 1/3 exaggerated lireast plus IK' inches. 

Square up from F. 

B to G is 34 regular breast. 

G to H is Syi inches. 

H to 1 is 1 inch, being ^4 inch for each inch of exaggera- 
tion. 

Square up and down from I. 

I to J is 1/6 regular breast plus }4 inch. 

J to K is J/2 i nch. being }i inch for each inch of exaggera- 
tion. 

Square up from K to locate X. 

B to L is J/^ of full exaggerated breast plus 2% inches. 

X to M is 1/6 regular breast. 

Shape from M to L. 

M to N is 1/6 regular breast. 

O is J4 inch below the line A M. 

Draw a line from O to N. 

Shape gorge from X to Nf. 

A to P is 1/6 regular breast. 

P to O is .;4 inch. 

R is halfway between I and F. 

D to S is 1 inch more than B to R. 

Draw a line from R, through S and down. 

Draw a line from O. through G to locate T. 

U to V is 1/12 exaggerated breast. 

Shape back from A to O, O to V, V to G, G to T. 

.Square down from L to locate W and Y. 

Y to Z is yi inch. 

Draw a line from W through Z and down. 

.^pplv seat measure on the two-third of the di\isions. plus 
5 inches from D to S, 1 to 2. 

Draw a line from R, through 2 and down. 

Come back J4 inch at X and draw a line to T. 

3 to 4 is 1 inch. 

5 to R is the same distance as T to R. 

Shape forepart from X to 4. 4 to I, I to 5. 

Sweep backward from 6 to 7, using R as pivot. 

.Sween forward from 7 to 8, using X as pivot. 

8 to 9 is 1 inch. 

Shape bottom from 7 to 9. 



Extend the front 2 inches forward of centerline at L, \V, 

Z, 8. 
E.xtend a line from N through X. 
-\ to 10 is circumference of gorge plus '/2 inch. 
Square down from 10. 
10 to 11 is iy2 inches. 
Square up and down from 11. 
-Add collarstand, finish collar and lapel and place pocket 

as represented. 
The size of sleeve is 22, being Ij of exaggerated breast. 
12 is J4 inch below I. 
12 to AA is 1/3. 
AA to 14 is 1/12. 

12 to 13 is 1 inch. 

Square out from AA and 14. 
.A. A to 15 is 3-4. 
Square down from 15. 
.•\.A to 16 is 34 less 3^ inch. 

13 to 17 is the same as 13 to X plus 1 inch. 
-Sweep backward from 17, using 16 as pivot. 
17 to 18 is 1/3 plus 1 inch. 

.Allow 3^ inch for seams at 17 and 18, and shape from these 
points to 16 as indicated on draft. 

Shape from 18 to 19, passing }^ inch inside of the line 
drawn between these points. 

Shape from 17 to 13, passing y^ inch inside of the con- 
struction line. 

12 to 21 is sleeve length. 

20 is half way between 13 and 21. 

21 to 22 is Ijki inches. 
Square out from 20 and 22. 

22 to 23 is 7-)4 inches. 
Draw a line from 21 to 23. 

-Shape from 19 through 24 to 23 as shown. 

19 to 25 is 1/12. 

26 is half way between T and 5. 

Draw a line from 19 to 13. 

Place a square on this line and square up from 26. 

13 to 27 is the same distance as 13 to 5. 

.Shape from 27 to 13 and from 27 to 25, passing 3/ below 
the line 14, 19. 

Shape topsleeve from 13 and down, passing 34 inch inside 
of 20 and 1 inch outside of 21. 

Shape undersleeve from 13 and down, passing 134 inches 
inside of 20 and 1 inch inside of 21. 

28 is half way between 21 and 23. 

Divide top sleeve from 16 to 28. 

-Shape undersleeve from 25 and down, passing 34 inch in- 
side of 24 and 23. 

This completes the diagram. 



180 




SPORTING RAGLAN— KIMONO SLEEVES 



181 



BALMACAAN. 



Measurements as follows: Waist, 18^ 2 inches; full length, 
44 inches ; breast, 40 inches. 

Special — This Balmacaan is so laid before the readers as 
to show the enlargement, etc. While this Balmacaan 
is supposed to be of the proper size for an individual 
that measures 40 inches around the chest, eight sizes 
are added to same for circumference ; therefore, the 
width and divisions over chest are 48, and the waist 
proportionate. 

TO DRAFT. 

Square out down and back from A. 

A to B is 1/3 breast measure. 

B to C is 33^ inches. 

C to D is 3 inches. 

A to E is waist length. 

A to F is full length of coat. 

Square back and forth from D. 

Square back and forth from E. 

D to G and D to H is 3^ breast measure and 8 sizes each, 
or total of 48, on the lA division. 

Square up and down from G, and square up from H. 

J to X is 1/6 enlarged breast measure. 

L to M is 1/6 enlarged breast measure. 

E to 3 and E to 2 is 2>4 inches each. 

Rule a line from C to 2 and down. 

Rule a line from C to 3 and down. 

R to S is Ij^ inches. 

Shape as per illustration from K to S. 

Rule a line from Q to X. 

Rule a line from P to N. 

Q to U is 1/6 of enlarged breast measure. 

P to V is 1/6 of enlarged breast measure. 

U to Y is XYi inches. 

V to W is 1 inch. 

Reduce width of back from N to O /I inch, and shape l:ack 
as per illustration from O to W and P. 

Reduce length of front part at point X J^ inch, and shape 
as per illustration from X to Y and O. 

H to I is 2 inches. 

Square down from I and shape as per dash line from T to T 

Sweep forward from point Z, using point X as a pivot, find- 
ing point 4. 

4 to 5 is ^ inch. 

Rule as per dash line from I to 5 and down. 

J to JJ is y^ enlarged breast measure. 

Sweep backward from S, using point C as a pivot, finding 
point T. 

Sweep forward from T, using X as a pivot, finding point 7. 

From 7 to 8 is 1 inch. 

Extend l-)4 inches to front; make notch of lapel 3j/2 inches 
wide and shape up lapel, front, and bottom, as per il- 
lustration, and the bodies of the Slip-on are completed. 

COLLAR. 
Rule a line from first buttonhole to y^, inch forward to point 

X, as shown by dash line. 
From 2 to 3 is 1/6 of total breast measure, or same amount 



as width of back and top of sleeve after the seams have 

been consumed. 
Sweep downward from point 3, using point 5 as a pivot, 

finding point 4. 
From 3 to 4 is 2 inches. 
Shape as per dotted line from 4 to 5. 
From 4 to 9 is 1^ inches. 
Shape as per illustration from 9 to 5 and JJ. 

4 to 8 is 3 inches. 
JJ to 7 is 3 inches. 

Shape as per illustration from 8 to 7, and 7 to JJ. 

9 to 6 is IK' inches. 

Draw crease line for convertible collar from 6 to JJ and 
shape as per illustration from 9 to 8, and the collar is 
completed. 

SLEEVE. 

The special feature of this sleeve is that it is drafted in 
one piece, and so laid that a solid line shows the reg- 
ular kimona sleeve, while the dash line indicates the 
manipulation of same into a sleeve holding an elbow. 
The sleeve is drafted over the coat pattern, and the 
same construction lines are utilized; therefore: 

From D to 4 is 3^ regular breast measure plus 1 inch. 

From D to 5 is 3^ regular breast measure plus 1 inch. 

From A to 6 is 1 inch. 

Rule a line from 5 to A. 

Rule a line from 6 to 4. 

C to QC is the inside length of sleeve 18 inches. 

Square back and forth. 

From CC to 11 and CC to 12 is each 7 inches. 

Rule a line from 4 to 11 and 5 to 12. 

5 to 9 is the same as from P to V on the body draft, and 

4 to 7 is the same distance as from Q to U on the 

body draft. 
7 to 8 is V/i inches. 
9 to 10 is 1 inch. 
Check up distance of back sleeve from A to 5, with the 

distance of back part from O to P. 
The sleeve should be J^ inch longer for fullness on the 

back sleeve where indicated. 
Check up front length of sleeve from 6 to 4 with length 

of front part of body. 
The sleeve should be 1 inch longer for fullness, where indi- 
cated. That completes the kimona sleeve. 
For a sleeve with elbow, yet cut in one piece. 
Mark off 2j/ inches from 4 to 13 and square down from 13. 
Extend 2V2 inches from 5 to 15 and rule down dotted line 

parallel with the solid line, as indicated. 
15 to 17 is 7y2 inches. 
C to 16 is one-quarter of breast measure. 
17 to 18 is 3 inches. 
Rule a line from 16 to 18 and square down from line 16 

to 18. 
From 18 to 19 is 10 inches. 
Shape as per dotted line from 13 to 14, 14 to 20. and 20 to 

19, and this will complete the one-piece sleeve, with 

14 inches at the wrist and a V taken oflf in the under 

sleeve for the elbow. 



182 




183 



COMBINATION SLIP-ON 



TO DRAFT. 

This drafting power is based upon a 57 size over the vest, 
three sizes being added for overcoat and then exag- 
gerated 3 sizes. The drafting power is 40 regular 
breast, 43 exaggerated. 

Square out and down from A. 

A to Z is 3 inches. 

Z to B is 1/3 regular breast (40 inches). 

A to C is waist length, 18 inches. 

A to D is full length, 42 inches. 

Square out. lines A, B, C and D. 

B to E is 1/3 regular breast. 

E to F is 34 regular breast. 

F to G is 2 inches. 

G to GG is Yj, inch, representing 54 inches for each size 
exaggerated. 

B to EE is 1/3 exaggerated breast (43 inches). 

EE to H is 1^4 inches. 

Square up from H. 

B to J is 14 exaggerated breast (43 inches). 

J to K is 234 inches. 

Square down from K. 

B to L is 34 regular breast. 

L to LL is Yj, inch, or same amount as from G to GG. 

Place corner of square on point GG, letting long arm of 
same rest on LL and square up, locating shoulder 
point, X. 

Rule a line from X to L. 

Sweep forward from C, using X as a pivot, locating point 
M. 

M to N is Yi inch. 

X to O is 1/6 breast. 

Shape from O through K to N and down to 9. 

O to P is 1/6. 

Shape neck-hole and gorge. 

C to CC is '4 inch. 

Rule a line from Z through CC and down to DD. 

A to O is 1/6 regular breast. 

O to R is 54 inch. 

Rule a line from R to L 

R to S is 434 inches. 

S to SS is 1 inch. 

X to T is the same distance as from R to S minus 34 inch. 

T to TT is the same distance as from S to SS. 

Shape from TT to X. 

D to U is the same distance as from B to F. 

U to V is 34 exagtcerated breast. 

U to W is 1/3 exaggerated breast. 

F to Y is 2 inches. 

Square out and back from Y. 

Rule a line from F to V and from F to W, locating points 
2 and 3. 

H to 4 is 134 inches. 

H to ,S is Yi breast (40). 

.'^ to 6 is 1 inch. 



.Shape front ami-hole from TT to GG and down to 2 and 
back part from SS through 6 to 4 and down to 3. 

V to 7 is l3'j inches. 

Shape bottom of back from DD to 7. 

Sweep backward from 7 to locate point 8, using F as a 
pivot. 

Sweep forward from point 8, using point X as a pivot lo- 
cating point 9. 

9 to 10 is 134 inches. 

Shape bottom as indicated and add 234 inches button stand 
from K to N and 9. 

Shape up collar and lapels and you are ready for the sleeve. 

TO DRAFT SLEEVE. 

Use regular breast size, 40, as drafting power. 
Square up and down from GG. 
(^G to 11 is 34 regular breast. 

11 to 12 is 1/6 regular breast. 

12 to 13 is 1/12 regular breast. 
.'-Square back from 11, 12 and 13. 

GG to 14 is 34 regular breast along line squared back from 

11. 
11 to LS is 1/24 regular breast. 

13 to 16 is 34 regular breast. 

.Sweep forward from point 2. using GG as a pivot, locating 

point 17. 
Square down from 17. 
17 to 18 is inseam (18 inches), less the 2 inches arm-hole 

is deepened. 
Square back from 18. locating point 19, which is the width 

of the cuff plus Y^ inch, or 15^4 inches. 

20 is between 18 and 19. 

Rule a line from 20 to 16 and up to 21. 

21 to 22 and 21 to 23 are each % inch. 

23 to 24 and 22 to 2.'i represent 34 inch for seams at top 

of each sleeve. 
Sweep from point 3 to 27. using 13 as a pivot, to locate 

point 27. 
.Square down from 27. 

27 to 28 is 7 inches. 

28 to 29 is 34 regular breast. 

.Sweep down from 28 to 30. using 29 as a pivot. 

28 to 30 is \Y inches. 

.Sween down from 19. using 18 as a pivot. 

19 to 31 is 234 inches. 

.■^hape bottom of sleeve from 31 to IS. as indicated. 

14 to 26 is the same distance as from .^ to 6. 
Rule a line from 26 to 27. 

32 to 33 is I34 inches. 

Shane sleeve head from 22 to 2S and 1.^ to GG and down 
to 17. 

.'>haii° back sleeve from 23 to 24, 33 and down to 27 and 
from 27 to 28, taking out a "V" to 2Q and 30 to 31 : 
pI^o center seam, allowing 34 inch seams on each side 
at the bottom and '4 inch toward the center, as indi- 
cated bv diasfram. 



184 




185 



THREE-BUTTON, DOUBLE-BREASTED, BOX BACK SACK COAT 



Measurements as follows: Breast, 38 inches; waist, 34 
inches; seat, 39 inches; length to waist, 17 inches, full 
length, 31 inches. The breast is exaggerated two sizes. 

TO DRAFT. 
A to B is 1/3 the regular breast. 
B to Bl is 2^ inches. 
A to D is the length to waist — 17 inches. 
D to E is 63^ inches. 
A to G is full length. 
Square out lines Bl, D, E and G. 
Bl to H is 1/3 the regular breast. 
H to I is 34 the regular breast. 




I to T is 2 inches plus yi inch for the two size exagger- 
ations. 
Square up from T. 

Bl to HI is 1/3 the exaggerated breast, plus lyi inches. 
Square up from HI. 
Bl to T is '/4 the exaggerated breast. 
J to Jl is 2j/2 inches. 



Square up and down from Jl. 

Bl to C is 34 the breast, plus y2 inch. 

C to CI is 3^ inch, representing 34 '"ch for each size of 

exaggeration. 
Place corner of square at point T, with long arm resting 

on CI, square up from T, locating point F. 
Rule a line from T to CI and from C to F. 
From HI to K is 1/12 the breast. 
.Square out from K. 
HI to O is % inch. 

Bl to the star is yi the exaggerated breast. 
Square up and down from this point, which formulates the 

balance line. 
Rule a line from O to 7 and up to 5. 
A to M is 1/6 the breast. 
Square up from M. 
M to Ml is 1 inch. 
A to Al is 34 inch. 

Shape top of back as from Al to Ml and from Ml to L. 
Shape back of armhole from L around to 5. 
Shape out 34 inch from 5 to O. 
D to Dl is yi inch. 

Rule a line from C through Dl and down, locating Gl. 
Square out to 7 by line Gl, to Dl. 
X to P is 3^ the waist. 
P to PI is 3 inches. 
Q to Ql is ^ inch. 
F to AA is 1/6 the breast. 

Sweep from AA down to 10, pivoting at point F. 
Shape balance line as from 10 through Jl, PI, Ql and 

down. 

10 to R is 1/6 the breast. 

Rule a line from 4 to R and out. 

From F to 9 is same distance as from Ml to L, minus 34 

inch. 
N to Nl is Zyi inches. 
Rule a line from O to Nl and down, extending from O 

up to 6. 
Shape armhole of forepart from 6 around to 9 and top of 

shoulder from 9 to F. 
Shape neckhole and gorge from F around to R. 
Rule a line from N to T, locating S. 
Sweep back from 7 to 8, pivoting at 5. 
Sweep forward from 8 to 11, pivoting at F. 

11 to 12 is 134 inches. 

Extend a button stand of 3 inches as from Jl to 13. PI 

to 14 and 12 to 15. 
Lav up the lapels and shape the front and bottom as shown. 

COLLAR. 
Draw up the crease line from the top button throu,>:^h S 

and up. 
F to 2 is the same as from Al to Ml on the crease line. 
From 2 to 3 is 134 inches. 
From 2 to 4 is 1 J4 inches. 
From 5 to 6 is 1^ inches. 
Shape collar from 3 to 4. 4 to 6, 6 to 5, and from 3 around 

to 5. coming inside the neckhole a seam, as shown by 

the dash lines. This completes the draft. 



186 



SLEEVE DRAFTED OVER THE ARM-HOLE. 

Lay the fore-part and back-part upon drafting paper, and 

mark around same deducting the seams of the under 

arm cut, also the side seam, as shown by the small dash 

lines. 
The breast line of the draft is used as the basis. 
Square up and down from C, so as to run through the notch 

in the fore-part at Y, as illustrated. 
Measure the arm hole circumference as from 9 around the 

arm hole to LI. 
Use this as the drafting power. 

Point A is located by coming up 1/3 of the arm scye from C. 
A to B is 1/12 arm scye. 
C to D is the in-seam. 
From D to E is lyi inches. 
F is between C and D. 
Square out from A, B, F and E. 
Square back and forth from D. 
C to G is 1/6 arm scye, plus ^ of an inch 
A to H is 34 arm scye. 
B to I is 1/12 arm scye. 

Y to Z is 5^ arm scye, along the line squared out from B. 
Square down from Z, locating HI and K. 
Z to J is 1/12 arm scye. 
Rule a line from J to G. 
NOTE : The line drawn from J to G should meet the arm 

hole of the draft, otherwise change it so it will do so. 
C to N and D to P are each 1 inch. 
Rule a line from N to P. 
C to O and D to Q are each 1 inch. 
Rule a line from O to Q. 
T to U is 54 of an inch. 
R to S is J4 of an inch. 

D to M is the width at the hand, plus J/^ inch. (6J/2 inches.) 
Rule a line from D to M. 
K to L is '/2 inch. 
Rule a line from L to M. 
Shape head of top sleeve from O through Y, I, H and 

around to Z, coming up 34 '"ch above H as illustrated. 
Shape under sleeve from J around to N. 
Shape out-seam of top sleeve from Z through L to M. 
Shape in-seam of top sleeve from O through S to Q. 
Shape out-seam of under sleeve from J to K. 
Shape in-seam of under sleeve from N through U to P. 
Check up the sleeve to meet the notches Y and Z. 
Measure the distance on the arm hole from LI to Z using 

the small letters. 
Place this amount at 9 and continue to Y. 
Apply this amount along the head of the top sleeve from Y 

around to Z, plus l->:4 inches for fullness. 
Measure the under arm hole from Z around to Y, using the 

small letters. 
Apply this amount along the under arm scam from Y around 

to J, plus J4 of an inch for fullness. 
By drafting the sleeve in this method, you will be sure to 

get one that will fit the arm hole. 
You can draft the sleeve from any arm hole in this method, 

whether you draft the coat or not. 
The idea is to draft a sleeve that will fit the arm hole notch 

to notch. 




187 



FLARED SKIRT. 

The diagram herewith presented shows the flaring of 
a skirt. The dotted lines indicate a normal skirt. To obtain 
a full flare at bottom without changing the balance of skirt, 
make four slashes in a proportionate skirt and spread same 
as much as you wish at bottom (2 inches in each slash 
will give a good full skirt). Place this upon another paper 
and mark ofif and you will have a pattern which will give 
the desired results. Skirts for all frock coats should be 
treated in this nianner when a proportionate skirt is not 
desired. 



\ ■^ 





STOUT MAN'S SACK FOREPART. 

The diagram of front part ht-rewith illustrated shows 
how to take away the surplus cloth in the front edge of a 
stout man's sack coat. Make a cut, as per illustration, from 
armhole down to the pocket, 1 to 2, and another cut in the 
pocket from 3 to A; fold surplus over, as shown in illustra- 
tion at 4. making the opening between 2 and 3j^ of an 
inch for every inch the subject measures more than normal 
at waist. The dotted lines at side and bottom illustrate the 
shape of side and bottom after this operation is performed. 
In cutting cloth, cut as per dotted lines at side and bottom 
and take out goods in "\ " from 1 to 2 and 3 to 2. 



188 



EFFECTIVE MANIPULATION 



Upon a very general demand from the trade, of draw- 
ings for various novelties in overgarments, I herewith pre- 
sent a series of manipulations of a normal overcoat, which 
in this manner is transformed into novelties in overgar- 
ments. Careful study of the operations performed should 
enable a competent cutter to produce any kind of novelty 
overgarment of this order, whether actually illustrated in 
this series or not. 

These diagrams, etc., are also published and copy- 
righted as a matter of record and protection, inasmuch as 



I have had under me a number of repeaters, as well as former 
students, who either directly or indirectly imposed upon 
original ideas that emanated from me. 

While all kinds of manipulation is taught in our indi- 
viduality department, these diagrams, etc., are published for 
the personal use of the subscribers of this Journal, and 
should be much pleased if repeaters, demonstrators, etc., 
would respect the copyright by giving due credit to the 
originator, whether demonstrated complete or in part. 

FRED'K T. CROONBORG. 



HOW TO DO IT 




DIAGRAM A. 



Diagram A, as illustrated, shows the model pattern in solid 
lines and the divisional sleeve in the dotted lines. The 
sleeve, which has a proportional top, is drawn straight, 



without elbow, so as to facilitate matters in tiic vaiious 
manipulations, to which this sleeve and model pattern 
will be subjected in the following diagrams : 



189 




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THE RAGLAN SHOULDER 
190 




THE BALMACCAN SLIPON. 



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191 




COMBINATION SLTPON. 
192 



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THE KIMONA SLIPON. 
193 



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194 




INVERNESS SLIPON. 
195 




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COMBINATIOxN SLEEVE- YOKE RIDING COAT. 



196 




It is often said that we have to learn by our own experiences, that we cannot profit by those of 
others, but must go through the turmoil of learning the right way by seeing the fallacy and suffer- 
ing the loss resultant upon wrong methods. The chastened frame of mind that follows upon such 
rigorous experiences has been known to us all, and has convinced us of the value of instruction by 
showing us how much we might have saved ourselves had we heeded admonitions given. 

This truism illustrates the value of system. The pioneer in every branch of science, and in 
every line of industry, must test each hypothesis, must try out each assumption, and develop through 
infinite labor and toil, through many disappointments and much travail, a set of rules and precepts 
which combined together in logical order, constitute a System. The student profits by the efforts 
and research of his predecessors who have passed through these painful but enlightening processes 
of experimentation, who have proven all things, and held fast to that which has been found good. 

I shall therefore give you some examples of practical adaptation of System to the uses of 
Cloth Cutting, and the discussions that will accompany illustrations will make clear the reasons for 
each precept stated. 

This important stage of the process of garment building is one which is often overlooked in 
elaborating a System of Tailoring, but it should not be omitted for the reason that certain very 
particular operations are involved, which necessitate accuracy of execution. A stitch in time saves 
nine, and careful attention to detail at this point may save much trouble later on. A thorough un- 
derstanding of the correct way to deal with patterns will be a factor in your success, and will 
enable you to avoid loss, waste and embarrassment. For the value of System is in this, that it crys- 
tallizes into a set of theorems the discoveries of the original investigator for the benefit of those 
who follow in his footsteps, thus conserving the time, strength, mental and nerve forces of the operator, 
to say nothing of the saving of cloth and canvas. 



197 




:::^ 



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w a 
SI 

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198 




LAY FOR NOTCH COLLAR VEST 

Breast, 38 in. Amount of material required, y^ yard, single 
width, doubled over. Fold, in. 




■^^^a 



:<:^ 



LAY FOR TROUSERS 

Seat, 40 in.; 32 in. inseam. Amount of material required, 

li/i yards, 56 in. wide. Fold, out. 



199 




200 




201 




202 



ALTERATION BLANK 




(Copyrtghtfd IQOQ by Frederick T. Croonborj;.) 

This blank is utilized for marking alterations on patterns after try-on is made 
and preserved with the patterns for future reference. 

203 



FITTINGS 




The diagram illustrated herewith shows fittings neces- 
sary for coats, vests and trousers, such as front facings, 
pocket facings, welts, flaps, under collars, and necessary 
outlets, while the under collar is illustrated as well. It is 
customary to make same from imder collar cloth. 

While the diagrams are self explanatory in all other 
respects, it is well for the student to give a good deal of 
study to the fittings with a view to fixing in his mind the 
various pieces of fittings necessary, so as to make sure 
that none are forgotten. 




204 



FITTINGS 




205 



CANVAS 



The first three cHagrams A, B and C, are meant to show 
the regular way of cutting canvas, and its make-up. In 
regard to the details of make-up of canvas, see Lecture on 



Hozv to Make a Try-On. 

For the various ways of cutting canvas study the dia- 
grams herewith presented. 








206 







207 



ALTERATIONS 





Sketch No. 1 and No. 2 show defects in sleeve. 

No. 1 shows the sleeve for the individual who stands 
with his arms forward. 

No. 2 shows the reverse, for a man who stands with 
his arms backward. 



Diagram A. 

Diagram A, if followed closely will show the correct 
change to be made if a sleeve is cut to fit a notch, which it 
should be. The balance of the sleeve should be changed 
to conform with the hang of the arm. The solid line shows 
the normal sleeve. 

B to C is 1 inch, more or less. 

Rule a line from A to C, as per dotted line, and re- 
shape from A to D, as per dotted line, also shape back 
of arm as per dotted line, and there will be a sleeve for the 
man that is holding his arm forward. 

The dash line shows the. sleeve for the man that holds 
his arm backward, which works on the same principal. 
From B to C is 1 inch, more or less. Re-shape the front 
and back as per dotted line, and there will be the sleeve for 
a man that holds his arm backward. 



Diagram B. 

Diagram B shows the illustration of a regular dress 
skirt. Upon general principals, the dress skirt will always 
be too long at the front edge, and to overcome this difficulty, 
make a slash in the pattern from D to A ; A to C ; and A. 
to B. 

Pleat pattern at D, the desired amount ; re-shape the 
front of skirt. 

The dotted line shows the effect of manipulation after 
completed. 





208 

% 



ALTERATIONS 





COAT. 

The accompanying sketch shows a coat that sets away 
from the neck. The following remedies as shown in dia- 
gram one have proved successful. 

Sweep forward from A, pivoting at back notch of 
breast line. 

A to B is J/2 inch more or less, re-shaping shoulder seam 
from C to B, and gorge from B to D as per dash line. 

Rise back at E J4 inch more or less, shortening back 
of neck at F and G 54 inch more or less. G to H is J4 
inch more than B to C. 

Re-shape from F to G and H as per dash line, and the 
coat produced from the pattern will stick to the neck. 

Diagram No. 2 shows manipulation for clean effect 
under arms at waist. Cut back ^ of an inch at A and B, 
and stretch the side seams as indicated by illustration, and 
if properly worked, will produce a very striking effect, as 
well as a clean side. 



209 



ALTERATIONS 







COAT. 

The illustration shows the sketch of a coat that wrinkles 
from the center of back around under the arms. The best 
remedy I have seen is the manipulation of patterns. 

Rule a line as shown in back part illustrated from B 
toD. 

Point C is 2/3 of the distance from B to D. 

Split the pattern from B to C, and pleat from C to D 
till opening at B is Yi inch, more or less, and where this 
manipulation has been eflfected in the pattern, the wrinkle 
will disappear in the completed coat. 

VEST. 

For the short edge and large chest, split the pattern as 
per illustration from A to B. 

Pleat from A to C as shown in diagram, J4 inch more 
or less, and there will be the short edge in opening, and a 
large chest. 

COAT. 

For the large hip and seat, the above manipulation of 
fore part is advisable. First pleat pattern from pocket down 
to A, and what is pleated at A is added on spring in back, 
and what is pleated at B is added down to the bottom of 
the coat. This has been found to be a logical manipulation 
for the coat for large hip and prominent seat. 



210 



ALTERATIONS 




COAT. 

The accompanying sketch shows a coat which wrinkles 
in the shoulders and across the back of neck. As a remedy 
for same, we introduce diagram A. 

First raise the arm hole from A to B, and C >^ inch. 

Make shoulder seam at back straighter, and on the 
other shoulder a little more rounding. Re-shape armhole 
as per dash line, and the wrinkle in back of coat will dis- 
appear. 

Diagram B shows an alteration for trousers, for a sub- 
ject having a flat seat. 

A to B is 1/6 of seat measure. Cut pattern open from 
B down to side, and lay over Yz inch, and there will be a 
flat seat, as per dotted line. If a large seat is desired, 
reverse operation, and open up the pattern from B to the 
side Yi inch more or less. 



[f { 


'T 1 


^^^ 


I. \ 1 


\ 




211 




212 




Practical Tailoring 




To begin with we will assume that the cutting has been done correctly. Directions have been 
given for that part of the work elsewhere, and we will not stop here to refer to the details involved 
in that process. 

The patterns having been cut according to the instructions given under the section referred 
to above, it is now the province of the Tailor to prepare the Try-on. 

The kind of Tailoring that the students of the Croonborg Sartorial Academy are prepared 
to do, is the kind that brings your customers back to you season after season, and year after year, 
convinced that they can find nothing better or more satisfactory than the clothes you design and 
build for them. We know that there is another kind of Tailoring, or something that goes by the 
name, to the discredit of the trade in general, but our graduates do not do that kind of work, and 
neither will any one who heeds the precepts laid down in this volume. That sort of tailoring results 
in the establishment being flooded with misfits which have been thrown back on the producer by 
dissatisfied clients. It also has this effect on the bookkeeping, that the balance will usually be 
found on the wrong side of the ledger, in the case of firms which tolerate such incompetent work- 
manship. But we will not stop to discuss this kind of work because it is our purpose to build up 
each one of our students into such efficient craftsmanship that neither of these conditions will 
ftver appear in any establishment for which they are responsible. 

Much has been written, and much said, about the artistry that should characterize the work 
of cutting. While fully appreciating the importance of skill and taste in that department of the 
work, and having emphasized this point in the proper place elsewhere in this volume, I think that 
the Tailor who knows how to produce good effects is also entitled to a great deal of credit for 
the exercise of the same qualifications. He must keep in mind at all times the matter of outline and 
proportion, he must be familiar with the complicated processes of lining and interlining, with the 
intricacies of shaping and molding, he must be master of the thousand and one details that go to 
make up the finished garment. The manner of execution of each one of these items will have its 
influence on the character of the completed whole. 

To begin with, then, after the trade marks have been fastened into the different parts of the 
coat, such as the outlets, pockets, button stand, et cetera, proceed to cut out the canvas. It is un- 
derstood that the canvas should be thoroughly shrunk before cutting, and under all circumstances 
it should be cut with the straight edges corresponding to the line of the front of the coat. This 
will give the steadiness and durability that distinguishes the well made garment. It is well to bear 
in mind that the canvas is the real foundation, and that the coat will take its lines from the shape 
given by the canvas. For this reason the preparation and treatment of the canvas is an import- 
ant item in itself, and accordingly a number of illustrations are given herewith to show the method 
of dealing with this material. These cuts are varied to make clear the requirements of the differ- 
ent types of figure, and are accompanied by explanations. 

In preparing the hair cloth which is used as a rule in the shoulder, the horse hair should run 
straight across the line of the cloth. Insert an extra piece near the shoulder point, where the 
horse hair runs straight up and down. This extra piece should be especially treated and adjusted, for it 
is calculated to act as a spring to the shoulder. (See B, page 206). Cover the hair cloth with one sheet 



213 



of wadding in the shoulder and over the chest, and cover the wadding with dermatt-cloth. The old 
fashioned method of excessive padding of the shoulder produced grotesque and exaggerated dis- 
proportions, and has happily been discontinued. The normal outline, gracefully draped, is the ideal 
of present day styles. 

In padding the canvas take care that it is not padded too close, and do not take too long stitches. 
One of these faults is as bad as the other. The effect of either would be to make the canvas and 
silesia too stiff, and the smooth effect desired impossible of achievement. 

After the canvas has been padded, press same thoroughly, also press into shape the fore- 
part of the coat. Stretch the shoulder a trifle near the shoulder point, or where the V is inserted in 
the canvas. Press in the breast of the coat, and press over the different parts of the garment 
thoroughly, and be sure that the edges are inclined to be short all around the front and bottom. Press 
in the arm-hole slightly at the front of the scye. Be sure that the canvas for the front parts has 
been so shaped in pressing as to conform with each other. 

In these days when each tailoring establishment has its special try-on man, and the coats are 
made as a rule on the sectional plan, the pockets are not put in for try-on as they used to be. There- 
fore proceed to baste the canvas under the forepart, by first basting a line from the shoulder-point 
down. Next baste for crease line of lapel, and down the front. Then baste the shoulder and around 
the arm-hole, and from the arm-hole down the inside of the canvas. 

Apparently many tailors do not appreciate the importance of making the cloth and the canvas 
harmonize. Extraordinary care should be taken in this respect, as it is a well established fact that 
the canvas leads the cloth. Therefore the front part of the coat and the canvas for this part must 
be in absolute accord, for the least disagreement between them will dislocate the shoulder, and throw 
the whole coat out of plumb. 

Now baste your side seams together, holding the back a trifle full to the front part just below 
the arm-hole. Baste together the back center seam even all the way down. Then turn all the 
seams and rebaste them. Press the seams, also thefront parts, and turn in the edges all around. Baste 
together the shoulder seams, and give the back three-eighths of an inch fullness. 

For the under collar a special cloth is used, which comes in different colors. Select the color 
that matches the coat the most closely, and cut according to the pattern furnished by the cutter. 
The canvas for the collar should be cut so that it runs with the thread of the collar in front, and bias 
in the back. The collar will not need much stretching on the outside edge, but should be stretched a 
little on the inside so as to conform with the stand. Then crease it over. In basting on the collar 
see that you hold it full near the shoulder seams, rather short in the gorges and even in the back. 

In basting the sleeves together, be sure that they do not twist in the slightest degree. See 
that they are properly based, and arrange the right amount of fullness on the top. This applies 
equally also to the under sleeve. 

Give the coat a good smoothing over with the press iron, trim off uneven outlets, canvas or any- 
thing that does not look clean and flush. 

The coat is now ready for the Try-on. 

Bear in mind that unless the garment has been properly prepared, it is practically worthless 
for the purposes of the Try-on, as defects can be detected only when the coat has been correctly 
put together. 

HOW TO TRY ON. 

At this stage in the process of garment building, you come face to face with your client in 
a manner and under circumstances that may have an important bearing upon both present and future 
transactions. Upon your conduct of this operation, therefore, and still more even, upon your 
method of dealing with your client, much may depend. Diplomacy is a necessary qualification for 
the Tailor, whose product brings him into such close relations with his client. We have all observed 
how great an effect the personal attitude we take will have in impressing those with whom we deal 
either for or against us. We are ourselves, each one influenced in this way by a man's estimate of 
himself, in forming our own conclusions. It is a truism that people take you at your own valua- 

214 



tion. For this reason you need to be supported in your own mind by a sense of your qualifications 
which can only be attained by thorough preparation, and conscientious devotion to duty. Preten- 
sions based upon unsound claims will never withstand the test of competition. 

Certain conditions for this meeting with your customer are so important to success that 
they should be insisted upon. First be sure to perform this operation of trying-on in privacy. This 
is an essential factor in pleasing your client. The presence of another person will create the impres- 
sion in his mind that you are working under instructions, and this will undermine his confidence in 
you at the outset. This is a logical inference if the supernumerary should venture suggestions and 
criticisms, as certain functionaries are prone to do. Failure to ensure this fundamental require- 
ment may seriously disturb your customer's faith in you, and be the cause of fault finding later on, 
which it will be very hard for you to reckon with. Also it is distasteful as a rule to a customer to 
have a third person present. It is apt to make himself self-conscious, or at least restive. He will be 
liable to entertain apprehensions on the score of there being too many operators at work on his 
clothes, presumably at cross purposes, and he will expect the result to be botchwork, and distrust the 
product of your labor, even if it should turn out to be faultless. The self importance of certain classes 
of employes who might obtain entrance to the try-on room would thus prove detrimental in the 
extreme to your interests. 





Assuming, then, that you have your subject alone before you, ready for the try-on, you can 
use a policy in dealing with him that will be an, important factor in your success, and incidentally 
in the agreeable and harmonious accomplishment of the task in hand. 

A calm and collected demeanor will inspire confidence, and will help to put your client in a 
frame of mind favorable to the occasion. Converse with him at intervals in an easy but respectful man- 
ner, and if possible divert his attention to some object of interest such as a strikingly pretty picture, 
which you will have provided to this end, so as to make him forget about the matter in hand. He 



215 



will then take a natural and unconstrained attitude, which will be an aid to you in your task of 
fitting him. Do not place him in front of a mirror, for the same reason, when you first slip the 
garment, say a coat, on him, but give yourself an opportunity to make observations and alterations 
unobserved by him. Make intelligent replies to his inquiries, and treat his suggestions with con- 
sideration, and if possible to do so without spoiling the garment, incorporate his ideas into the plan 
of same. 

While your subject is in position before you, then, quietly occupied with pleasing reflec- 
tions suggested by some interesting object, you will enter upon the work of inspection of the coat, 
and make such changes as are needed to ensure a good fit. 

Concentrate your faculties on the business in hand. 

First of all ascertain that the coat is in proper position, for this may save you much trouble 
and many alterations. Pin the front together carefully on a straight line, and notice particularly that 
both sides are fitted alike. The next items to consider are the length, width and hang of the sleeve. 
Mark alterations, if any are needed, and rip out the sleeve. 

Place your hands under the arms of the subject to ascertain if the armsize is too deep, or 
too shallow. 

Now make a critical examination of the whole garment to discover what defects, if any, will 
need to be corrected, or how it can be improved. Pass your hand across the shoulder, and see if 
the balance of the back, from the neck to the bottom of the scye, is as it should be. Look next at 
the shoulder, from front and back. Does the whole garment balance correctly? If not, rip open the 
collar and readjust the drape. Experiment with the shoulders to obtain the best effect for the coat 
as a whole. Observe what differences result from raising and lowering, and be sure you obtain the 
finest lines and the most becoming contour. Consider the shoulder blades, the hips, the armholes, 
the curve of the back, and see that you have made due provision for each, that each proportion is 
in harmony with the other parts. Get the position of the neck point, and pin the collar on in such a 
way as to get the proper height, length, and fit. Mark the shoulder seams, the neck hole, and the 
armhole. Any change that you make must be with careful reference to its effect upon the set of the 
garment considered as a whole, which may be altered for better or for worse by a slight variation. 

Next mark the front. 

You should now politely invite your client to come to the mirror, inspect the garment, and 
make any suggestions he wishes to offer, as to style, fit or finish. Listen attentively to all he says, 
and as suggested above, if possible to do so, introduce his ideas into the scheme of construction. But 
do not be misled into making changes that will imperil the success of your work, by altering too de- 
cidedly the plan, or upsetting the balance of the garment. You will need to use discretion and finesse 
here again, in many instances. You should at all times remember that the personal element enters 
into every transaction to a greater or less extent, and your ability to cope with its various phases 
will be a factor in your success. Never dream that you can cajole or flatter a man into being satis- 
fied with a faulty production, or that good words will be accepted as a substitute for good deeds, 
for such an assumption would ensure your failure at the outset. Such attempts stamp their perpetrators 
as imcompetents, who do not know how to correct faults, and trust to their powers of persuasion to 
obscure their clients' discrimination. 

If you have handled your client with tact and address, he will go away after the Try-on feel- 
ing satisfied in his mind that he can depend on your ability and judgment, and assured that this par- 
ticular specimen of your workmanship is going to be a credit to you, and an acquisition to his ward- 
robe that he will very much appreciate. And if you have profited by the instructions laid down in 
this volume, these prognostications will be realized in a manner highly gratifying to both. 

After you have assisted him to dress, and bidden him a friendly farewell, find time at the 
earliest to re-mark the different alterations, with untiring patience and watchful care, while the man's 
personality, figure and appearance, and your own interest in him as your subject, and the general 
plan and design of the coat as well, are fresh in your memory. 

Remember that it is your own personal success that is at stake in the construction of every 
article of wearing apparel that is set up in your place of business, and that in satisfying your clientele 
to the last detail, and in every particular, you are adding to your own prestige and popularity, and 
laying the foundation of your own prosperity. 

216 




Co-operative Tailor and Specialized Work Shops 




The Tailoring Business at the time of this writing has taken on a new lease of life, not only 
from the business point of view, but also from that of the mechanical end of the industry. 

The one thing more noticeable than any other at this stage of evolution, as we must regard 
it, of methods of handling the work, is that there are very few apprentices to the tailoring trade. It 
would seem that the single tailor has met his Waterloo in the conditions that confront him as a result 
of the developments growing out of the transition from the old system of single handed home labor, 
which cannot be made to fulfill present day requirements, to modern methods adapted to the needs 
of the work, which must meanwhile be kept up to standard. The Specialized-Work-Plan as devel- 
oped by the author in the last twelve years, has, during the past few years been investigated, and found 
to be a solution of many difficulties for Progressive Tailors, and co-operative work-shops are be- 
ing established throughout America. With this Specialized Co-operative Work-Plan there has grown 
up a different method of making clothes. Under the sub-caption of 

MODERN CONSTRUCTION. 

I will, therefore, discuss matters pertaining to the Specialization of work in tailoring. 

The development of this Modern System in the construction of clothes has become a neces- 
sity for several reasons. First of all there is a demand for efficiency, and in order to meet the com- 
petion of Ready Made Clothes, the Custom Tailor has been obliged to lay aside the old and out 
worn methods of single-handed work, home work kitchen shops, et cetera, for up-to-date, logical 
methods, by opening Co-operative Work-Shops, in order to be able to turn out better work on 
shorter notice. Further it is necessary to reduce the general expense for Merchant Tailors, in order 
to meet the competition of the clothing manufacturers. 

Then again in all Co-operative Work-Shops night work is being eliminated, and day work 
made the rule for all classes of employes. 

The advantages and benefits of this latter reform alone are incalculable. The welfare of the 
workers, a consideration of first importance, is conserved. The reproach of the sweating system, with 
the train of evils that follow in its wake, is removed. Better conditions for workers enable them to 
turn out better work. The customer, on the other hand, has the satisfaction of knowing that his 
clothes are produced under sanitary conditions, and under fair working regulations. 

Modern Construction in Custom Tailoring is entering upon a new era, which includes Special- 
ized Work as organized by the writer so many years ago. We cannot possibly hold to the single 
hand system, and maintain the standard desired by Progressive Tailors, a fact which has been ap- 
parent to the most casual observer for many years past. 

Specialized Work is the co-operation of six or eight persons together in one group under direc- 
tion of an able foreman, each devoting his energy and ability to the development of a certain portion of 
a garment. It means that the garment will be completed within that group, while factory work 
means that there are hundreds or perhaps thousands of workmen under one roof or in one loft, each 
having some very small part to do in the making of the garment; in fact splitting up the work into 
so many sections that not one of the workmen can in reahty be called a Tailor. Each man is like 
a cog in a great machine, which through its constant grind will at last turn out a product of a certain 



217 



sort, but one which will express neither character nor individuality. Clothes made in this manner 
cannot possess the quality to enable them to stand up alongside of the product of Custom Tailoring. 

PRACTICAL PLANS. 

Exercise care in starting your shop. Be sure that you do not merely call it Section Work, 
for that term is the one applied by clothing manufacturers to the system in use in their factories. 
Call it a Specialized Co-operative Work-Shop, and be sure that it shall be what its name implies. 
Bear in mind that Specialized work is the best there is for the Custom Tailoring business, while 
factory work is what is utilized by the clothing manufacturers. 

Co-operative Work-Shops that are properly conducted turn out much better work than single 
handed Tailors can do, for the reason that through Co-operation we obtain the results of SPECIAL- 
IZATION. 

No group of a Specialized Co-operative Work-Shop should be composed of a larger number of 
workmen than can be properly looked after by the Foreman, who must keep in mind all the processes 
and details that go to make up the finished garment, which must conform to the best traditions 
of Custom Tailoring, in order to express the individuality of the wearer for whom it is specially 
designed, an achievement which must always be the aim of the skilled craftsman. 

THE DULL SEASON. 
By the exercise of a little foresight in distributing the time of the working force, the dull 
season may be bridged over in a manner that will provide a needed rest for the workers after the 
strenuous activities of the busy season, without serious financial loss or injury to organization by 
reason of disbanding. During January and February, July and August, start working Tuesday 
morning and quit Saturday at noon. 

PLAN OF SPECIALIZED, CO-OPERATIVE WORK-SHOPS. 

Attention is herewith directed to diagram on page 219 illustrating a plan of the Specialized Co- 
operation Work-Shop for Custom Tailoring. The smaller group is especially planned to meet the 
requirements of the average Merchant Tailor who is making about fifteen suits per week. For the 
Tailor having a store on the ground floor with window light in the rear, this plan as shown can be 
installed without much expense; while the up-stairs Merchant Tailor can readily find a space suitable 
for a shop organized on this plan. A room 20x25 will do if there is sufficient light. 

The large table in the centre represents the Coat Section. The Trousers Section is illustrated 
to the right of the Coat Section and the Vest Section to the left. Two Sewing Machines are shown, 
(either foot or power). Six electric Press Irons aie utilized, while the press blocks and other tools 
should be up-to-date. The Practical Tailor will appreciate the importance of having surroundings 
and tools in keeping with the character and style expected in production, and the error of trying to 
economize on these essentials. 

The Coat Section is made up of six hands as follows: 

No. 1, the Foreman of the Coat Section, hires, fires and directs the other employes within this 
Section. He must first of all be a good Journeyman Tailor, who understands how to instruct others. 
He must possess intellect and capacity for planning the work so that all the help shall be kept busy 
all the time, and one will not have to wait for another. He takes the work from the Cutter, and is 
responsible for the quality as well as the quantity of work turned out. He opens and re-marks the 
Coats from Try-On, and deals out the work to the different members of this Section. He joins the 
shoulders and bastes on the collar. He hangs the sleeves, and does all the shaping. He helps out 
on all parts where his directing and guiding hand is needed. 

No. 2 is a good Tailor. He does the basting under on the canvas linings, and of the edges; 
also the pressing-off. 

No. 3 is a Tailor who puts in the pockets, does the machine work and t' pi-c- pressing. 

No. 4, a girl who makes sleeves and button holes. 

No. 5, another girl who does all the hand sewing. 

218 




SPECIALIZED WORKSHOP PLAN UPON MODERATE SCALE 



No. 6, a boy apprentice who does the padding of the canvas, the lapels and other rush work, 
and is a general utility hand to help out wherever he may be needed. 

Right here it is well to state that it will be a mistake to have Try-Ons made in this Section, 
as that would interrupt the general run of the work, and for this reason would be rather expensive. 
Therefore, Try-Ons should be made by a special hand. 

The Vest Section is conducted by a man and a helper, a girl helper preferred; and this man 
guides the Section entirely. If he is the right man for the place he will make fifteen vests per week, 
with the assistance of this girl. 

The Trousers Section is also conducted by a man and a helper, in this instance also a girl. If 
the man in charge of this Section is competent he will make fifteen good pairs of Trousers each 
week, with the help of this girl. 

Thus it will be seen that a shop of capacity of fifteen complete suits or overcoats per week, 
can be conducted with eleven hands disposed as follows : One Try-On man, one group of six coat 
hands, one group of two vest hands, and one group of two trouser hands, and this forco should turn 
out the required quota of garments under these favorable conditions, and competent direction, with 
gratifying precision. 

219 



As for the cost of operation of a shop of this kind, it is calculated upon 25'"( of the gross sales 
of the Merchant Tailor. This 25% will cover all expenses, including salary, rental, lights, insurance 
and incidentals. 

SPECIALIZED CO-OPERATIVE WORK UPON LARGE SCALE. 

The larger diagram on page 222 illustrates T.ie Ideal Specialized Co-operative Work-Shop of 
Tailoring conducted upon a large scale, this larger shop-plane however, being handled in a similar 
manner to that of a single group described heretofore, except that for the larger shop a special 
Superintendent is needed. 

This Superintendent engages all the different Foremen, and each Foreman engages his help. 
The Superintendent gives his rules, instructions, et cetera, to the Section-Foreman alone. He has 
nothing to do with the other help, and does not speak to them at all; for if he were to associate with 
the regular help, it would upset the scheme of discipline, and the Foreman would lose control of the 
group he is directing. 

Section No. 1 is composed of a working-foreman and seven hands, a total of eight. In this 
Section we find four men tailors, three girls and a boy apprentice, who should, under proper direction, 
produce 24 second grade business coats per week from Try-On. 

Section No. 2 is composed of seven hands including Foreman, — four tailors, two girls and a 
boy apprentice. This Section will average seventeen first grade business coats per week, if properly 
conducted. 

Section No. 3 is composed of six hands, the Foreman, three tailors, one girl and a boy appren- 
tice. This Section will produce twelve good overcoats per week. 

Section No. 4 is composed of six hands. One Foreman, two tailors, two girls and one junior 
tailor. This Section should produce twelve good dress or frock coats per week. 

All in all, these four Sections, if properly conducted, will produce 65 good coats per week. 

Section No. 5, the busheling group, is composed of three hands including Foreman, and will 
under reasonable conditions, be able to take care of the alterations, while Section No. 6, composed of 
three members, including Foreman, will be able to make all the Try-Ons. It is understood that the 
Foreman of Section No. 6 must be an able Tailor, and a good Executive. 

Section No. 7, for Vests, is composed of eight hands divided as follows: One Foreman, one 
machine operator, one presser, one tailor, three girls, and a boy apprentice. The Foreman directs 
all the other hands, and divides the work amongst them in a manner that is logical, and with a view 
to keeping all hands busy at all times. This group will produce 65 good vests per week. 

Section No. 8, for Trousers, is composed of nine hands, including Foreman, five men, three 
girls and a boy apprentice, and is conducted upon the same general lines as the other group for 
Vests. This Trouser Section will complete 65 good pairs of trousers per week. 

The operation of this shop is likewise based on 25/^ of the gross receipts, and the class of 
work specified in this instance, is suits and overcoats sold for $60 and up. However, the 25% pro- 
ducing expenses can be maintained in all grades of work, from the cheaper to the higher grade. 
In the cheaper lines it is best maintained by increasing the number of hands in a section, which is 
practicable, since the details are of less importance in the cheaper grade, while on the other hand 
it may be done by decreasing the number of hands in the higher grade, where details are more num- 
erous and requirements more exacting. 

This larger shop as illustrated, is calculated to meet the requirements of the Merchant Tailor- 
ing concern doing about $200,000.00 worth of business each year, and figuring upon 25^^ total shop 
expenses, it will be seen that the operation of a shop of this class will net $50,000.00 per year. 

SARTORIAL PROGRESS. 

I would like to have it noted that the plans outlined above have been developed with a view 
to the preservation of Custom Tailoring. 

In order to provide for the future I believe that there should be at least one apprentice to 
each group. The methods applied should be such that the apprentice would be able to advance 

220 




SPECIALIZED CO-OPERATIVE WORK-SHOP PLAN UPON LARGE SCALE 



221 



rapidly, with the prospect of becoming efficient either as a first or second hand in the shortest pos- 
sible time. Encouragement in this respect would serve to attract a number of applicants to learn 
the trade. 

The Foreman should be a man of character and initiative. He should be able to inspire his 
force of workers to surpass their best achievements under the old system. 

A scale of succession should be established, by which the Tailor in charge of the coat section 
would be in line to succeed the Superintendent in case of a vacancy, and the Foreman of the Vest 
Section would automatically become Foreman of the Coat Section, in the upward movement, if he 
had made good. In this shifting forward all along the line each worker would receive recognition 
of faithful and efficient service, and the installation of this plan of advancement as the reward of 
merit will be found to act as the most effective spur to efficiency to all concerned. Within a year 
from the date of inauguration of the system, the staff will be co-operating together with the regu- 
larity and precision of a machine, supplemented however, with the intelligence which the human ele- 
ment is supposed to supply — which, however does not always seem to be the case with the factory 
system. 

In every industry, in every art, in all lines of business, the highest efficiency is always the 
result of specialization. The Tailoring trade will be found no exception to this rule. In fact, no- 
where else will it apply with greater force than in an occupation where constant iteration is essen- 
tial to the successful performance of the several tasks involved in the construction of garment 
building. 

FOUR KINDS OF TAILORING. 
Take Your Choice! 

FIRST— SINGLE-HANDED WORK. This means home work, piece work, day and night 
work, lack of system, loss of time, unsanitary conditions, probably, and no regularity for either em- 
ployer or employe. 

SECOND— CO-OPERATIVE SPECIALIZED WORK. This means well regulated Tailor 
Shops, organized upon a systematic plan that assures efficient and skillful workmanship; it means 
regular hours, regular wages, sanitation, satisfaction, for both employer and employe — and clientele 
as well — because it means the results of specialization in respect to the product, and the acquisition 
of expert ability on the part of the artizan. 

THIRD — TEAM WORK. This means driving something, whether it be a horse or a man. 
It is moreover an imitation of factory section work. It will answer for the cheaper grade of cus- 
tom tailoring, and may be a sort of cross between the factory system and the Specialized work that 
is essential to the best attainment of Custom Tailoring. 

FOURTH — FACTORY WORK. This means piece work in the main. It means also that 
each operative knows nothing about the work except the small part he does individually. It means 
listening for the whistle, and becoming a cog in a great machine, which turns out to be a sure, 
work of a certain grade. It is applicable to ready-to-wear clothing, but never to Custom Tailoring. 

It will be apparent to the Tailor who has carefully noted the outline suggested in this sketch 
for the inauguration of Specialized Co-operative Work-Shops that this system does away with the 
abuses and inequalities of the old method of single handed labor, and provides at one and the same 
time a method of producing a class of merchandise of the highest grade by means of the specializa- 
tion of each department of the work, and of training all hands to the most expert craftsmanship. 
It is a point that should not be overlooked that the living and working conditions of employees will 
be materially improved in the new plan, and the working tailor will be able to calculate his earn- 
ings with more certainty than ever before. On the other hand the Merchant Tailor will find his 
expenses reduced, and his returns increased. The more systematic way of doing business will result 
in an improvement all along the line, making it easier to estimate profit and loss and to control the 
several factors that enter into the construction of his product. He will find that his output can be 
increased without increasing his expenses, because the system utilizes to the best possible advantage 
the resources in hand. He will find himself in a position never before realized to guarantee to 
his clientele the quality of merchandise, and timely deliveries. In profits to the Merchant Tailor 
himself, in satisfaction to his patrons, and in benefits and advantages to his employes, the working 
tailors, the bone and sinew of the trade, the gain will be incalculable. 

In the Specialized Co-operative Work-Shop plan, twentieth century business methods have been 
applied to the conduct of Custom Tailoring. Once this plan has been tried out, neither employer 
nor employe would ever go back to old way of doing. 

222 



CONTRIBUTORS 




HONORARY MENTION 



223 



DISPROPORTIONS 

By George ]'. Rossman. 



The subject is : 

1st. — Relation of front and back shoulders; 

2nd. — Disproportions and their relative position to 
proportion. 
The draft before you is a 38 breast, 34 waist. 
5 feet, 8 inches tall. 
Depth of scye 1/3 breast and 3 inches or depth of scye as 

taken, y. inch added, 9 Zl% in all. llj^ blade, 12i.^ 

strap. 17>4 over shoulder, 7^ front of breast, 8,'/^ 

front of waist, 8^ back waist and 39 hip. 

This draft is not given to represent an English coat — 
it is the ordinary all-around coat. It is given to show the 
principle employed, by which you can produce any kind 
of coat and have a good and substantial foundation. 




1 — Square both ways from 1. 

2 — From 1 depth of scye and Yi inch. 

3 — Is waist length. 

A — From 3 is 7 inches. 

5 — Is the full length square across from 2, 3, 4 and 5. 

6 — Is 1 inch from 3. 

7 — Is located by drawing a line from a trifle above half- 
way depth of scye to 6. 
Square down from 6. 

8 — From 7 is Ij/ inches. 

9 — From 8 is blade measure 11^ inches square up and 

down from 9 locating 10 on waist line. 
11 — Is 1J4 inches more than half way from 7 to 9. Square 
up from 11. 



12 — From 11 is the shoulder height obtained by the over- 
shoulder measure 17>^ on scale of thirds plus >^ inch. 
13 — Is \i inch below point 12 square out from 13. 
1-1 — From 1 is neck size 15 on scale of the 6th and 5/8 of 
an inch, but it may be made more after point and neck 
height is established. 
15 — From 1 is 6 inches. 
16 — From 15 is 1^^ inches. 
17 — Is located by connecting 16 and 1. 
18 — From 7 is 5^4 inches. 

Connect 9 and 18, which will locate 19. 
19 to 20 is 3/^ inch. 

Make back width at bottom as 7 to U, and shape from 
1 to 17. 17 to 12, 12 to J4 in back of 20; use your own 
taste in curving side seam of back. 
21 — Or neck point — is located by squaring up from 9-18. 
22 — Is the same amount as 1-17. 

23 — From 9 in 7^ inches, the front of breast measure. 
24 — From 10 is the front waist measure, 8>4 inches. 
25 — Is -)4 inch from 23 an allowance for ease and make up 
over the chest. Draw a line from 24 to 25 and up 
to locate 26. Place corner of square on point 24 with 
short arm V^ of an inch above 10 and square down to 
locate 27. 2^2 inches below line squared forward from 
5. 
28 — Is located by connecting 21 and 12 and is Yz inch less 
than from 17 to 12. Shape shoulders from 28 to 21 
rounding it up Y^ inch and shape arm scye as repre- 
sented. 
29 to 30 is 23/2 inches. Cut out back and shape side seams 

of front part of it. 
31 — Is 1-12 of breast and >< inch from 26. Line 24 and 

25 representing the center of coat. 
32 — Is 1 inch from 24. 

Zi — Is V/z inches from 25 and represents the amount needed 
for button stand, seams and buttonholes, but can be 
made less if smaller coat is desired. Shape up front 
and bottom to suit. 

This concludes the first part of my draft and gives us 
the basis for further development. We will now consider 
the neck which is such a close neighbor to my subject that 
it cannot afford to be overlooked and is represented by 
the heavy circle. It is obtained in the following manner: 
the circumference of the neck in this case is 15 inches; the 
diameter being about 1/3 and the center of the 15-inch 
circle or half the diameter is 1/6. 
34 — From 1 is center of neck 1/6. 
15 on scale of 6ths on square. 
Connect 34 and 17. 
Z't' — From 1 is one inch always. 
36 — From 17 is the same as 34 from 1 and represents the 

center of neck for the front part. 
37 — From 34 is also neck size; 15 on scale of 6ths and the 
distance from 37 to 17 and 34 inch added represents 
the collar stand. 

Most all points are located by compass or circle, but 
have omitted circles in order to make it plainer ; however, 
I will slightly touch upon it so the principle will be clear 
and plain. 

Casting a sweep or circle from point 1 using point 34 
or center of neck as pivot, we will gain point 37 and likewise 
casting a sweep or circle from 35, using 34 as pivot, we 
will gain point 17, and so on. 

Now let us cut out the back and transfer it to the front ; 
points 17 and 12 to points 21 and 28. 34 is the center of 
the half circle shown by the heavy dash line and is the real 
center of the neck, but at this stage looks somewhat de- 
ceiving. By the time we get the other half of the diagram, 
it will be in the right place. 2)7 , as explained before, is 
crease or collar stand line, the curved line drawn from 34 



224 



to 25 and 24 is the center of the coat from neck to breast 
and waist and locates 38 the depth of the gorge where it 
crosses the neck circle. 

Now gentlemen, you can readily see that the principle 
here is outlined and points given are geometrical and there- 
fore in perfect harmony. 




Diagram 2. 

Diagram 2 is a duplicate of the upper section of Dia- 
gram 1 with the exception of the heavy triangular lines, 
and is the most important in my demonstration. 

Many years ago, as a beginner in this great work, 
I realized that there should be a more scientific way of 
locating the side of the neck or shoulder point than I could 
see in my system. Of course it was there, but at that time 
I could not see it as I do today. It caused me to study and 
I soon came to the conclusion — that front and back shoulder 




must meet at side of neck and that if scye depth increases 
Yi or .'4 inches, a certain amount must be added to the 
shoulder at side of neck. 

Front and back shoulder are relatives, yes they are the 
closest kind of kin, and if by mistake you should misplace 



them, there will never be any rest until the bushelman 
comes to their rescue. 

The following principle as outlined by the heavy lines 
is based on proportion, and any increase or decrease made 
on the back will have its effect on the front, and vice versa. 

The Principle. 

Draw a straight line from the neck point 21 of the 
front part to neck point 17 of back part. 39 is the center of 
line just drawn, -H3 is located by squarring down from 39. 

Now measure the distance from 40 to 17 and apply from 
40 to 21 and you will find them both alike, or you may 
sweep from 17 pivoting at 40 and you meet point 21. 

Gentlemen, do not misunderstand me. This is not to 
locate your proportionate shoulder point, but only to show 
you the disproportions of back and front shoulder and how 
to apply it to bring your coat in proper balance. This rule 
can be applied to any system and will give perfect satis- 
faction. 

Diagram 2 shows plainly the relative position of back 
and front shoulder and how perfectly they meet at the side 
of the neck and if the rest of our draft is in harmony with 
the body to be fitted, there would be very little room for 
shifting shoulders. 

One of the most frequent errors that brings the shoulder 
shifting about is a coat cut too small at front of waist for 
the figure it is intended for. The shoulder would be O. K. 
if it were not for the back swinging away and as an excuse 
for our own mistake we blame it on the shoulder. Too 




crooked, too long, too short — "poor shoulder." It is sad the 
shoulder cannot defend itself or else we might soon discover 
that it is not the shoulder, but the lack of understanding on 
our part in using our system correctly. 

Diagram 3. 

Diagram 3 represents a -^j-inch long and short strap, 
with depth of scye proportionate. Since we know the 
foundation of the principle we can omit some of the lines 
and still get the same results. We will, however, maintain 
point 40, y^ inch below back shoulder height from which all 
sweeps are made. If you make but short sweeps on front 
and back pivoting at 40 as shown on diagram, then it is not 
even necessary to be so exact about point 40, whereas the 
full sweep would require exactness in all point for the tri- 
angle. 

You can readily see point at 41 ; the short strap falls H 
inch below the proportionate shoulder on the sweep cast 
from 21 as the arrows indicate the figure is slightly forward, 
but shoulders fairly square, and does not require any change 
on the back part. Point 42 represents a |4 inch long strap, 
figure somewhat erect, and will be treated in the following 



225 



diagrams. Notice how the strap advances and retreats 
automatically on the sweep cast from point 40. 

Diagram 4. 

Diagram 4 is just the reverse of diagram 3, ^ inch 
longer depth of scye and regular strap makes them dispro- 
portionate. Point 43 is the increased back height. Lest 



' i.,.^/^^ """^^^ 


/ 4D 


^^^-^^ 


47 


/ \ 


1 


fflij 23 

DIAG. 
*5 




\ 


1 



you should overlook the principle, I have again used 
the triangular and dash lines as in diagram 2. Point 
43 is ;^4 of an inch extra back height ; get width of back 
neck same as before. Cast short sweep from proportionate 
neck point 17, pivoting at 40. Measure the distance be- 
tween the two arrow sweeps and apply the same amount 
from 21 to 45 and cast a short sweep. Apply the strap 
and wherever it crosses the newly made sweep is the proper 
point for the increased back length indicated by point 46. 
If the figure in diagram 4 was a round back, both ways 
that is the head and shoulders both forward, it would be- 
come necessary to go in as much from 1 as the 2 arrow 




sweeps are apart and make back neck with the same as 
before. By doing this we have lengthened the back and it 
is important to add a relative amount to the strap length. 
This we accomplish by running the strap through point 21 
to 45 indicated by the pointing hand. 



Diagram 5. 

In diagram 5 we have the three different figures, — 
normal, square shoulders and long neck somewhat sloping 
shoulders. The long neck has >)4 inch more scye depth and 
•'>4 inch more strap and somewhat longer over-shoulder. 
The square shoulder is just the reverse, 1 and 21 are the 
normal — 47 and 48 the square shoulder — 49 and 50 the 
sloping shoulder, and if you understand the rule or princi- 
ple, you will see that it is self-e.xplanatory. with the excep- 
tion of point 48. The square shouldered figure 48 does 
not advance or retreat, but comes on line squared from the 
proportionate point 21. This is the proper meeting place 
for back and front shoulder for figure just described. 

Diagram 6. 

Diagram 6 is defined by attitude. Is a square-shouldered 
erect figure. Depth of scye being '4 inch shorter locates 
point 52, fix below 1. Square across, sweep from 51 by 
40 to locate back width and finish back as before. Measure 
the distance between the two arrows on back and make 
a sweep the same distance back of 21. Cast another sweep 
from 21 pivoting at 9 for the height of front shoulder, 
where the two intersect is the proper meeting point, while 
the increase in front does not show much erectness in dia- 
gram. Do not be deceived in the swinging outward and 
straight line of the back part. You have a more erect 
position than you imagine. 




Diagram 7. 

Diagram 7 is a bird's eye view of all the foregoing. 
The dot lined circle represents the neck, point 34 is the 
center of the dash line circle. It is the same as the dot 
lined half circle in diagram 1. Its mission has been de- 
scribed in the same diagram. There is, however, a mis- 
leading point about the dash lined circle. That is, it is 
much larger than the neck size, and does not close around 
the dot lined circle which is the actual neck size, but by 
the incomplete dot lined circle you will see that this mis- 
leading point has been well taken care of when points 38 
and 38 which are the center of coat on both sides are 
brought together. It will give us the proper degree in 
slope of shoulders and close around the dot lined circle 
and fill up the space between points 21 and 37 which rep- 
resent allowance for collar stand. If you deduct allow- 
ance for the seams, you will have exactly the neck size, 15 
inches around the circle from 38 to 38. 

If this diagram is studied closely it will throw a new 
light on your daily path, for it is study well digested, that 
brings results, and if you thoroughly understand why you 
are doing things, you will work with a great deal more 
ease and pleasure. 



226 



UNEVEN SHOULDER HEIGHTS AND HOW TO FIT THEM 

By W. R. Stanbury. 



In selecting the problem of "Uneven Shoulder Heights 
and Changes Necessary to Properly Fit Same" for my 
subject, I am doing so feeling that this type of man, 
though often met with, is perhaps the one remaining 
type of disproportion that cutters have not as yet con- 
quered and relegated to sartorial history. In my brief 
experience as a cutter, both in the no-try-on trade, the 
popular-priced trade and again in the high-class trade, I 
have devoted considerable attention to this subject. I have 
read various trade journals assiduously and in my acquaint- 
ance vi^ith fellow cutters I have observed their methods 
closely with a view of getting their ideas on this same 
subject. It may surprise you, therefore, to learn that upon 
this question two supreme facts stand forth with startling 
clearness. One is the trade journals treating this subject 




from a theoretical standpoint invariably arrive at the same 
conclusions ; the other is, that custom cutters in their daily 
practice treating this same subject, perforce from a practical 
standpoint, invariably arrive at totally different conclu- 
sions. This anomaly is one of the peculiar features of this 
type of figure, and so generally is it recognized by the 
trade at large, that some of our best cutters make only the 
most superficial changes when cutting for this type, depend- 
ing upon the try-ons to complete the changes necessary 
to get the desired results. 

There must be a reason for this, and my belief is that 
cutters have never sought to understand the principles that 
govern uneven shovilder heights. In general men are not 
born with one shoulder lower than the other; they there- 
fore must develop this feature as they mature, and just 
what causes one shoulder to drop below the level of the 
other I am not prepared to say ; this I do know, that in 
actual practice different types of disproportionate shoulders 
are met with, and they must be treated differently to get 
results that please. If this talk of mine does nothing more 



than arouse the interest of the cutters here present to 
the possibilities of this subject, I feel sure that in a very 
short time the mere matter of a man's shoulder being out 
of whack will cause no more worry than does the extreme 
sloping or square shoulder, and we all know that it is only 
a few years since we used to cut straight shoulders for the 
one and crooked shoulders for the other, then calmly bushel 
our work afterwards. Why ? Because we took our system's 
word for it instead of doing our own thinking. 

DIAGRAM A. 

1 have here a sketch of the back of a man as he ap- 
pears when being measured, breast 38, waist 34, seat 39, 
height 5 feet 8 inches. Scye depth 9 3/8, strap 123/4, 
arm scye 17^^, attitude normal. This is what I like to 
call a proportionate man. No difficulty is experienced in 
fitting this kind of a figure, because when we measure one 
side we have the measure of both, because the scye depths, 
end of shoulders and sides of neck are on horizontal lines; 
and the back centers are all on a rising perpendicular. 

In this case we have the height, breast and waist the 
same as in Diagram A, the left side is also in proportion, 
but the right shoulder is % of an inch lower and the right 
arm pit a like amount, the sides of the neck are on a hori- 
zontal line and the nape of the neck still remains on the 
continuous straight line that rises up through the back 
centers as in Diagram A. One doesn't have to be a Sher- 
lock Holmes to properly fit this type of figure, for as you 
will see in Diagram B — 1, all we have to do is to drop the 
right arm scye ^^ of an inch, ends of shoulder a like 
amount and presto, we have it ; but this type of shoulder is 
a very rare occurrence in daily practice, so much so that 
it might be said to exist exclusively in the brains of im- 




practical cutters, and I have illustrated this to show how 
it shoudn't be done, as well as to explode a fallacy that is 
becoming monotonous by its endless repetitions in the 
columns of reputable trade journals. This dope would be 
all right if all cases of uneven shoulders were like this, that 



227 



is, the back centers all on a perpendicular, the sides of the 
neck horizontal, and only the shoulder slopes and armpits 
on equally different levels, and I think most of you who 
have tried this panacea for all type of uneven shoulders 




will agree with me that it is a lemon of the sourest variety 
and not in any garden of love either. 

Let us now take up Diagram C. This is a type that 
is most commonly met with in daily practice : here we have 
the left shoulder in proportion with the right shoulder 
and the right armpit ^4 of an inch lower than the left. 
but the right side of neck you will observe is 54 inch (or 
1/3 of amount of shoulder difference) lower than the left 
and the nape of the neck is off to the right ^4 instead 




of being directly above the centers as in Diagrams A and 
B. You see we have the same amount of difference 
in the shoulders in both B and C, but it is a cinch that 
what will fit B won't do for C, and to aggravate matters 
we get 99 cases like C to one like B, yet cutting journals in 



treating this problem continue to trot out the same old chest- 
nut as shown in B — 1. I won"t say they all do, but to be 
frank with you, I only know of one journal that has ever 
attempted anything but the stereotyped change with a few 
little variations that only tend to confuse when being 
worked out at the cutting board; and in justice to the trade 
journals I don't want to be taken literally on this, for it is 
quite possible I haven't read them all. 

As my friend, Geo. DuNah, has said, here is a typical 
case of where "theory stands aside and common sense 
experience steps in," and we have Diagram C — 1, for our 
consideration. You will note on this draft the side of the 
neck has been dropped down and forward % inch, the 
end of the shoulder dropped ^ inch, top of side seam a 
like amount and the notches at sleeve pitch and side seams 
the same, the armhole of the forepart is also deepened % 
and the top of side seam of foreparts a like amount, and 
the shoulder point is also advanced 34. which is necessary 
for the shoulder bone prominence that is usually found with 
this type. A couple of ply wadding should be put on the 
end of the shoulder back of the bone prominence which 




fills out the slight increase of arm scye circumference. Dia- 
gram C — 2 shows the same changes on a body coat. These 
changes which you see illustrated in dotted lines will give 
excellent results as I know from experience, and the center 
seam will lie down the center of your clients back instead 
of running off to one side. 

Here we have another type of uneven shoulder heights 
that is met with quite frequently, but it is not nearly so 
common as the type shown in Diagram C. In this case we 
have an apparent difference in shoulder slopes of IJ/2 inches, 
yet if we measure both shoulders from their respective 
back centers we find that they both measure the same and 
are the same size as the shoulder shown in the normal type 
Diagram A. When we look at this closely we find that the 
left shoulder and armpit are ^4 of an inch higher than the 
normal, and the right shoulder and armpit ■;4 inch lower 
than the normal and the body centers do not rest on a con- 



228 



tinuous perpendicular, but instead beginning at a point 
about halfway between breast and waist lines are off to the 
right as you see by the dotted lines. The sides of the 
neck are not on horizontal lines either but are higher on 




the left and lower on the right than normal. This is a 
distinctly different type from any we have yet considered 
and we must treat same differently if we want to get results 
that please. 

As you no doubt have noticed that the body has a 
"bent to the right" appearance and is much shorter between 
the hip and armpit on the right than it is on the left; this 
is due to the spinal curvature which has taken place and 




must not be lightly passed over as a freak cripple that no 
rule works on, because it isn't, as my order book for the 
last year will attest. It might be well to observe that while 
this type can be easily analyzed, outside of the scye depths 
and straps and armhole circumference it isn't easy to 
measure, so we have to depend on observations of the 
figure for shoulder formation and blade size and attitude ; 
let us for convenience assume that outside of the "bent 
to the right" formation our subject is the same size, etc., 
as in Fig. A. Our measure will then read left scye depth 
8 5/8, right scye depth 10 1/8, strap 12><, blade 11,1/4, arm 
scye circumference 175^. We proceed to draft by taking 




the average scye depth which is half way between the two 
and nets 9 3/8, and we then proceed as usual. It doesn't 
make any difference what system you use so long as it is a 
good one. After your draft is made, draw lines from the 
center seam to a point above and below the breast line, 
the amount of difference we failed to provide for at the 
scye at back, do the same with the foreparts beginning at 
the front edge and making the difference at the sides as we 
did on the back part. Then lay on another piece of paper 
and remark around bottom of both back and forepart. Then 
pivot both parts at front edge and center seam and swing 
your back upwards and backwards till the bottom breast 
line rests on the place the original breast line was and 
remark about the upper part. Treat the forepart to cor- 
respond but swing it up and forward. This provides for 
the high shoulder and by reversing the process you pro- 
vide for the low shoulder. You, of course, have a sharp 
turn in your front edge and center seam where your pivot 
was, but this you can straighten by shaving off of one side 
and adding to the other for art's sake, and if your material 
is a pronounced stripe, it is better to bring the center seam 



229 



to a straight line by this taking off and adding on process, 
and cut your back arnihole. The changes are shown here 
in dotted lines. 

Diagram D-2 shows the changes for same type on a 
body coat. The result in the completed coat will be suffi- 
ciently pleasing to make the time in drafting look insignifi- 



One more type and I am through. You will often 
run across a man whose scye depths show a difference at 
the armpits but none apparently at the top of the shoulders. 
When you get around to the front of such a man you will 
find quite a difference in his shoulder slopes ; this is due 
to a flattening down tendency of the shoulder bone at 





cant, and besides you will have a coat that your customers 
will have no fault to find with. Some of you might ask 
what should be done about wadding in a case like this. 
My experience is that if you give a man a good fitting coat 
following natural lines and one that sets comfortably in the 
shoulder and does not slide down from his neck on his 
low side, he is seldom conscious of a difference in his 
shoulder and rarely asks for wadding. Nine times out 
of ten it is because of the lack of proper balance of one 
side that he gets to thinking up for himself, and like the 
easygoing bushelman, his first thought is wadding. 



front, and this type can be easily taken care of by simply 
deepening the arm scye total amount of difference, say 3/8, 
reduce the shoulder double the amount }i at end to nothing 
at point and crooking the shoulder ^ the amount, or 3/16 
in. The illustration shows the changes. You will no doubt 
have noticed that I have always spoken of the right shoulder 
as being low : you would have to reverse the operations if 
the right shoulder were high, and by this time you, of 
cottrse, won't have to be told that I always measure from 
the left side as a foundation; if you measure from the 
right, then treat the left side always as high or low. 



TABLE OF HEIGHTS AND WEIGHTS. 
According to the Combined Experience of Fifty Old Line Insurance Companies. 



A^e^ 



Feet Inches 20 25 30 35 40 

5 120 125 128 131 133 

5 1 122 126 129 131 134 

5 2 124 128 131 133 136 

5 3 127 131 134 136 139 

5 4 131 135 138 140 143 

5 5 134 138 141 143 146 

5 6 138 142 145 147 150 

5 7 142 147 150 152 155 

5 8 146 151 154 157 160 

5 9 150 155 159 162 165 

5 10 154 159 164 167 170 

5 11 159 164 169 173 175 

6 165 170 175 179 180 

6 1 170 177 181 185 186 

6 2 176 184 188 192 194 

6 3 181 190 195 200 203 203 



45 
134 
136 
138 
141 
144 
147 
151 
1 5h 
161 
166 
171 
177 
183 
189 
196 



50 
134 
136 
138 
141 
145 
149 
153 
158 
163 
167 
172 
177 
182 
188 
194 
201 



55 
134 
136 
136 
141 
145 
149 
153 
158 
163 
168 
173 
178 
183 
189 
194 
198 



60 
131 
134 
135 
140 
144 
148 
153 
158 
163 
168 
174 
180 
185 
189 
192 
197 



65 
130 
132 
132 
139 
143 
147 
152 
157 
162 
167 
173 
179 
184 
187 
190 
195 



230 



DR. WAMPAN'S SYSTEM WITH VARIATIONS 

By Alex Reaich 



Diagram A is made for the purpose of showing how 
to produce a pattern for a 3-button morning coat to fit the 
wampen ideal model figure form, 36 chest, 30 waist and 
36 seat. 

The broken lines at waist depression point and front 
waist show how the waist depression becomes less and 
more less up to the limit of the first degree of waist dis- 
proportion, and how the remaining increase in size of waist 
is carried to the front in perfect conformity with the figure 
form requirements. 

Diagram B shows how we proceed in drafting by this 
system. The first thing we do is to complete the back 
pattern, leaving the shoulder point tag attached to the 
shoulder seam of back. 

Draw construction lines O. From O mark in 1^ 
inches and 354 inches. From 3'j inches square up ^4 inch. 




From O mark down 1% inches and square across 7>4 
inches. Draw diagonal line from % inch at neck point to 
the shoulder point 7}4 inches. From 1^ inches mark down 
734 inches ; square across 7}/2 inches. 

From 7y2 inches square up 43/ inches and continue 
up to 6% inches. Form top of back, shoulder seam line 
and back scye as shown. From O measure down to natural 
waist line 16J4 inches and fashionable waist length 18 
inches. Make width of back at waist line 2% inches. Place 
edge of straight edge on top of point 134 inches and resting 
on point 18 and draw back skirt line to full length, say 34. 
For width of back skirt square in at bottom 2^4 and draw- 
straight line from waist 2% point to bottom 254- Add 



skirt plait and lap over; and form side seam from the 4-^2 
point. To leave shoulder point back tag attached lines, cut 
as per dotted lines. 

ROUTINE FOR DRAFTING FOREPART. 

Draw construction lines O. From O mark out 2j/S and 
down 334 ; from 334 square out and locate the shoulder 
point 7%. Draw diagonal line from 234 to 7;4. Mark 
down from 334, 634.; from 6^4 square out to 534 and con- 
tinue to 9. From 9 square down side plumb line 734 ; from 
734 square in ^. Place comer of square on point 9, with 
back edge of leg resting on the % point and square out 
to 8M- 

Place back pattern with back seam even with the 8^-4 
point, with scye depth level line on top of line 9 and 8}^, 
with back in that position. Square in from back at waist 
line 234 and form sidebody line down through the 2^4 
waist depression point. Adjust side body length to match 
back. Place shoulder tag point even with the shoulder 
point of forepart, keeping the upper edge of back tag even 
with the diagonal line 2>4 and 7j4- Adjust width of shoul- 
der to match back ; mark along shoulder seam of back to 
locate shoulder seam of forepart and form gorge line with 
end of collar; at 134 in front of construction line, form 
shoulder seam line. Square up from 534 to lj4 and in 
from 134 to 9; form scye line, through point lyi, with bot- 
tom of scye dropping not more than )^ below breast meas- 
ure line. Mark %, cut out under arm. 

From a point 34 inch in from neck point of shoulder 
seam form a pivotal point and sweep from bottom of side 
seam to front. From back seam measure forward half 
waist 17 inches; to that add 3K' for make-up. Add 234 in 
front of net half waist, measure square down to sweep line. 
That point is the front waist length; and from there draw 
straight line to bottom of side body, to be used as a guide 
line in forming waist seam line. 

The solid lines of draft show how to produce pattern 
for a 36 chest measure, with neck, shoulders and back for 
model form, and with waist at the limit of the first degree 
of waist disproportion, while the broken lines show how 
to provide for a waist that is 2 inches in on the second 
degree of waist disproportion. To work in the second 
degree of waist disproportion, we square in from the 7y2 
side plumb line }i less at the J.s point for every inch that 
we have of second degree of waist disproportion ; and from 
there we square out to locate the 8^4 point, so in this case 
we square in from the 734 point Ys. only. 

Diagram C shows how to proceed in drafting to fit a 
36-inch-chest man whose neck is long and shoulders sloping 
to the extent of three-fourths more than standard model 
figure form and whose waist measure is 2 inches in on the 
second degree of waist disproportion. In that case we 
mark in from the 71/; side plumb line point }i in place of 
S's and by the 5^ point we square out 8V4. Place back in 
position and adjust the waist depression point 1^; then 
move back forward to conform with blade measure, which 
is, in this case, '/' inch less than the standard model, and 
carrv that ]/> inch to front of chest measure line. 

'Diagram D is just the reverse to that of Diagram C 
in neck,*" shoulder, back, chest, strap and blade form, neck 
being short and shoulders high to the extent of M inch, with 
back round to the extent of H inch and strap '4 inch shorter 
than model ; with blade >2 inch larger than model and chest 
V2 inch more flat than the standard model. 



231 



I deeply regret the fact of my time limit preventing 
me from giving you anything more than a hasty glance at a 
few of the many interesting and highly edifying all-embrac- 
ing features of this perfect sartorial art system. However, 
in the hope of being able to convey to you a clearer grasp 
of wliat I have shown, I have made two patterns as diagrams 
C and D, but differing in size of waist, patterns D and C 
being 5 inches in on the second degree of waist dispropor- 
tion; and in that case we square out from the 7^/2 side 
plumb line ^ towards the back waist in place of to a point 
-% in front of the 7^ point, as in smaller waist forms. 

We hear cutters quite frequently declaring there is no 
such thmgs as a system by which we can measure and cut 
to fit a lopsided or hump-backed customer. This false doc- 
trine has been exploded long ago about there being no 
such thing as a shoulder point in practical coat and vest 
cutting, if there be any in this assembly imbued with any 
such absurd notions, I feel assured my demonstration will 
go a long way in disillusioning them. I have made patterns 
C and D for the purpose of proving the necessity and valid- 
ity of the correct location in my drafts of the shoulder 
points, as here shown in patterns C and D. 

Pattern C is for a man whose shoulder point level is 
M inch further away from the neck point than is that of 
the model form and ^vj nearer to the scye depth level, while 
the shoulder point of pattern D is ^ nearer to the neck 
point than is the standard model and ^ further away from 
the scye depth level than are the standard conditions. 

Diagram E— Cut one-half of coat by pattern C (dotted 
lines C) and the other half by pattern D and you produce 
a coat that will fit a man who is lopsided to the extent of 
1>4 inches, as you may see by measuring the distance be- 
tween these two back tag shoulder points; and in spite of 
this V/i inch lopsided condition, the outlines of both back 
patterns are exactly the same below as is this pattern for 
the back of the standard model figure form. 

Just look at the perfect uniformity of the outlines when 
I place the standard model pattern on the top of the two for 
the l><-inch lopsided figure. These two back patterns being 
the same width at top, it necessarily follows that when coat 
is made up the neck points of shoulder seams are the same 
distance from the top of back seam, so I will place the neck 
points of the two foreparts even. Now you see THE 
shoulder point of the one side is V/, inches further away 
from neck point than the other and the scye depth level is 
IK inches nearer to the shoulder point than the other side. 





232 



as shown by solid line, and twisted as this man is, the system 
enables the cutter to keep all his outlines in practically per- 
fect uniformity with the outlines of the standard model 
figure form pattern. 

Now place the two shoulder seams even and note by 
dash circled lines, the difference that the shoulder point 
balance gives to these two patterns as made to fit this man 
in, in whose figure form we have a complete combination 
of fifteen very pronounced forms of deformity to provide 
for, and to the Wampenite cutter there is nothing vague nor 
uncertain as to the exact location, form or extent of any one 
of the deformities. This man has one side short-necked 
and high-shouldered to the extent of ■;4 inch and the other 
long-necked and sloping-shouldered to the extent of ^4 inch ; 
one side of his back is extra round to the extent of ^ inch 
and the other side of back is extra erect to the extent of 
% inch. One shoulder strap is ^ inch extra long while the 
other is )4 inch extra short. One blade is Y2 inch smaller 
than model and the other blade is ^ inch larger than model. 
One side of chest is J^ inch more full than model, while the 
other side is J^ inch more fiat than model. His seat is 
4J/4 inches more than model. One hip is fiat to the extent 
of y^ inch and his waist is 5 inches in on the second degree 
of waist disproportion, which, in this case, means that the 
waist is 3 inches larger than the chest measure. 

Small waist disproportion is worked down in the same 
ratio as the large ones are worked up. A 36-inch breast 
with a 26-inch waist is at the limit of the first degree of 
small waist disproportion ; and when the waist is 5 inches 
in on the second degree of small waist the waist measure 
for a 36 breast would be 21 inches, all of which goes to 
show that the system is equal to any actual or imaginable 
condition of figure form. 

I will now conclude this demonstration by saying I 
have a firm conviction, born of practical experience, of 
the absolute truthfulness of the claim — that just as all 
our written and printed literature is contained in the twenty- 
six characters we call the alphabet, or as our boundless 
mathematical science of calculation is contained in the ten 
little numerical digits, so is there all that any cutter needs 
to know or can desire to know, contained in the Wampen 
System. 

Gentlemen, I thank you for the courteous attention you 
have given me. 





233 



APPLICATION OF MEASURES THAT DEFINE ATTITUDE AND SUPPRESSION 

Bv Charles AI. Taylur 



First — I will show you the normal figure 38 inches breast 
and 34 inches waist, which I find by many years' experi- 
ence to be 2j4 inches indentation at the neck, and 1^4 inches 
at the waist which would give me 3 inches suppression all 
told for a normal draft, to be found in this way — 2 '4 inches 
neck indentation plus 1J4 inches waist indentation would 
give 4 inches; now as we are drafting only half of the coat 
we must divide that amount, leaving but 2 inches — (2vi -(- 
1J4 =4-^2 = 2). There being 4 inches difference between 
the breast (38) and the waist (34), take J4 of an inch for 
each inch of difference between the breast and waist, which 
would give 1 inch ; therefore the 2 inches of indentation 
suppression, and the 1 inch of breast and waist suppression 
would give three inches for a normal coat to be suppressed. 



2-K4 

VA 
9H 

17 

18 
38 
11/. 

I2y2 

17.}4 

38 

34 




inches neck indentation. 

inches waist indentation. 

inches depth of scye. 

inches vi^aist length. 

inches fashionable waist length 

inches full length. 

inches blade. 

inches strap. 

inches ox'ershoulder. 

inches breast. 

inches waist. 



KORMAL DRAFT. 
Draw construction line A E. From A to B is scye depth 
phis 34 of an inch. A to C is natural waist. A to D fash- 
ionable waist. A to E full length. Square out from these 
points. H from C is ^ of an inch ; draw a line from 
about 2'2 inches down from A through point H, to estab- 
lish point BB. F from A is 1-6 of breast. G from F is 
■iqof an inch. I from BB is blade measure. J from I is 
15^ inches square up to R. K is half way between BB and J. 
L from K is 1/ inches square up. M from BB is half 
of breast on halves. Go out 316 inches as to J and square 
down. N from BB is half breast. O from N is 2 inches. 



P from O is 13^ inches. Draw a line from G to N to 
establish 10; 11 from 10 is ys of breast; Q from R is 1-6 
of breast less % of an inch. Apply strap measure A to G 
and J to Q plus ^'4 of an inch. Apply overshoulder meas- 
ure plus fi of an inch; 12 from Q is 3/^ less than from 
G to 10 ; S from H is 2^4 inches ; * from C is half of 
neck and waist indentation added together, 2 inches for this 
draft; * from * is J4 of an inch for each inch breast is 
larger than waist. Divide distance from * to H into three 
parts. T to S will be 2 parts 1^4 inches; U to V one part 
one inch; V from H is J4 waist measure; W from * is half 
waist; X from W is 2 inches; Y from X is 1^4 inches. 
Draw a line through points O and X and down. Sweep by 
point Q from point of sidebody 14 to and across line OX. 
The Skirt. — Draw a line from point of sidebody 14 to 
where sweep crosses line OX ; square down on this line 
from 15 to 16; 16 is 1-3 of seat measure; from 15 square 
out to 17; 17 from 16 is ^ of an inch (or yi of waist 
indentation). Draw a line from 15 through 17 to 18, which 
is 24 inches down always. Mark a point 1 inch in as to 
19; mark round of skirt as from 15, going out about 
-)8 of an inch at 17 to 19 ; apply length of skirt to 20 ; shape 
top of skirt -'Is of an inch below waist line at sidebody seam 
and drop A of an inch in front as per diagram. 




li« 



234 



Second. — Stooping figure, which is rather extreme on 
account of there being no waist indentation, while at the 
neck we have an indentation of 4^4 inches, with a breast 
measure of 42 inches and waist 42^ inches — to find tlie 
amount this coat should be suppressed, take half of indenta- 
tion measure 4^ + = 4^ -^ 2 = 2j^. Now take >^ of 
an inch for each inch difference between breast and waist 
which would give 3/16 of an inch to l;e deducted from the 
indentation suppression on account of the waist being larger 
than the breast. Note. — Where waist is larger than the 
breast deduct the difference, and where the breast is larger 
than the waist add; so that in this case the suppression will 
be 2 3/16 inches. 




MEASURES AS FOLLOWS: 

lyi inches neck indentation. 

1 inch waist indentation. 

8J4 inches scye depth. 
16J/2 inches natural waist length. 
173/ inches fashionable waist length. 
39 inches full length. 
1L)4 inches blade. 
13J4 Strap. 
ISj-^ overshoulder. 
39 breast. 
35 waist. 
39' J hip. 

DRESS C().\T. 
Draw construction line A K ; from A to B is scye 
depth plus y^ of an inch; A to C is natural waist; A to D 
is fashionable waist; A to E is full length, square out from 
these points. H from C is M of an inch ; draw a line from 
A through H to establish BB. F from A is one-sixth of 
breast ; G from F is -34 of an inch ; I from BB is blade 
measure; J from I is IVl inches, square up to R ; K is half 
way between BB and J I L from K is 1^ inches, square up ; 
M from BB is half of breast on halves, go out 3^ inches 
as to J and square down. N from BB is half breast; O 
from N is 2 inches; P from O is Ij-^ inches; draw a Hue 
from G to N to establish 10; 11 from 10 is one-eighth of 
breast; Q from R is Y^ of'an inch less than one-sixth of 
breast; 13 from Q is one-eighth of breast. Draw a line 
from F through 13 for gorge. Apply strap measure from 



A to G and J to Q plus % of an inch. Apply overshoulder 
measure plus % of an inch. 12 from Q is ^ of an inch 
less than from G to 10. S from H is one-eighth of waist 
measure ; * from C is half of neck and waist indentation, 
added together, 1^ inches for this coat; * from * is 1 inch 
(or J4 of an inch for each inch waist is smaller than 
breast) — divide distance from H to * in three parts; T to 
S will be two parts (one inch) ; U to V will be one part 
( ' li inch) ; Y from C is half of waist on halves; W from 
* is half of waist; X from W is 2 inches; Y from X is ^ 
of an inch. Draw a line through points OX. OOO from 
Y is l'^> inches; OO from Q is one-sixth of breast. Draw 
a curve line through points O, OO, OOO and down below 
waistline. Sweep by point Q from point of sidebody 14 
to and across line OX. Shape waistline to sidebody seam 
and from there to where sweep crosses curve line OO, 
OOO; strap of front is 1^ inches below this line. Measure 
distance on waistline from 24 to 14 and make distance from 
24 to 23, one-third of this amount ; 25 from 24 is 1 J/g inches ; 
point of lapel is ZYa inches from crease line. 

The Skirt. — Draw a line from point 14 to point where 
sweep crosses line OX ; square down from 14 on this line 
to 16; 16 from 14 is one-third of the seat measure; 17 from 
16 is one-half of waist indentation (>2 inch) ; draw a line 
from 14 through 17 to 18, which is 24 inches down from 
14; 19 to 18 is 1^ inches. Draw a curved line from 14 
past 17 to 19; 20 is skirt length from 14; 21 from 20 is 
one-third of waistseam, which measures 17 inches; 22 from 




235 



20 is one-twelfth of same measure. Draw line from 22 to 
22i; shape top of skirt, dropping y% of an inch below waist- 
line at sidebody seam. 

Manipulation. — Place long arm of square on point Q, 
letting corner of square touch point A until short arm of 
square at 5 inches down touches center seam of back. This 
will throw point A further back, raise points F and G, and 
reduce point 10 as per double fine lines. 

Third. — Erect figure, shows rather a peculiar type of 
measures. I choose this one, as the garment is cut and 
finished without alteration. We have here an indentation at 
the neck of IJ/ inches, and at the waist 1 inch, with a 
breast measure of 39 and waist 35. Proceed as before to 
find the suppression 1/4 + 1 =2^/2 -=- = 1/4- The differ- 
ence between the breast and waist being 4 inches ; take Y\ 
of an inch for each inch would give 1 inch, making a total 
of 2J4 inches to be suppressed. 

Stooping draft is taken from actual measures, coat cut, 
tried on and finished without alteration. 




MEASURES AS FOLLOWS: 

4J4 inches neck indentation. 

inches waist indentation. 
1034 inches scye depth. 
\7Y\ inches natural waist length. 
19;/2 inches fashionable waist length. 
37 inches full length. 
42% inches waist. 
42 inches breast. 
19J4 inches overshoulder. 
13^ inches strap. 
12J4 inches blade. 
441/2 inches hip. 

FAT MAN'S FROCK. 
Draw construction line A E; from A to B is scye 
depth plus J4 of an inch ; A to C is natural waist ; A to 
D is fashionable waist ; A to E is full length ; square out 
from these points. H from C is ^ inch ; draw a line from 
5 inches down from A through H, which establishes point 



BB; F from A is one-sixth of breast; G from F is ^ of 
an inch; I from BB is blade measure; J from I is 1^ 
inches square up to R ; K is half way between BB and J ; 
L from K is l]/^ inches square up; M from BB is half 
breast on halves ; go out 3^4 inches as to J and square down ; 
N from BB is half of breast ; O from N is 2J4 inches ; 
P from O is \y^ inches; 10 is yi of the distance from A 
to B ; draw line from G to 10 ; 11 from 10 is one-eighth of 
breast; Q from R is 3^ inch less than one-sixth of breast. 
Apply strap measure from A to G and J to ii plus % of 
an inch. Apply overshoulder measure plus J4 of an inch; 
12 from ZZ is fg less than from G to 10; S from H is ^ 
of waist measure ; * from C is half of neck and waist 




indentation added together is 2Y^ inches for this draft ; * 
from * is 34 of an inch for each inch waist is larger than 
breast. Divide distance from * to H into three parts ; T 
to S will be two parts 1^4 inches; U to V will be one part 
y% of an inch full; W from * is half of waist; X from W 
is 234 inches; Y from X is 1J4 inches; draw a line through 
points OX. Sweep by ZZ from point of sidebody 14 to and 
across line OX ; 13 from O is 3^ of breast square out. 

The Skirt. — Draw a line from point of sidebody 14 
to point where sweep crosses line OX ; square down on 
this line from 13 to 16 and 18; 16 from 15 is one-third of 
seat measure. There being no waist indentation, there will 
be nothing to go out as in other drafts. 18 is 24 inches 
down always ; mark a point 1 inch in as to 19 ; mark round 
of skirt as from 15 to 19 going out about ^ of an inch 
at 17; shape top of skirt dropping y^ of an inch below 
waist line at sidebody seam ; dropping % of an inch in 
front as per diagram. 
236 



Manipulation. — Reduce forepart as sidebody seam ^ 
of an inch and extend armhole same amount as per dotted 
lines and add to fronts as from dotted lines. For the 
stooping form (double lines) lay long arm of square on 
point S3, letting corner of square touch line A R Q until 
short arm of square at 5 inches down touches center seam 
of back ; mark around ; this will extend points A and F, 
lower point G and extend point 10 as per double fine lines. 

FROCK COAT WITH EXTRA DRAPERY. 
Square lines 1, 2 and 3. Lay side-body and forepart 
with the fashionable waist-line directly over the line 1-2. 
Swing the side-body forward to meet the natural waist 



line at 4. Mark along the edge of pattern from the side- 
body to 5. Place the lapel at 5 overlapping 2 seams. Mark 
by this to 6. Square down from 6 by the line 1-2 ; 7 is 
half way from 1 to 6; 8 is -)4 inch from 7, more or less, 
according to the drape desired. Shape the waist seam 
from the side-body through 8 to 6 as represented in draft; 
1 to 3 is 9 inches when the seat is 5 inches larger than 
the waist ; 3 to 9 is 23^4 inches. To this must be added the 
amount taken out at the waist seam from 7 to 8 ; 10 from 
9 is the same as from 7 to 8 ; 11 from 6 is the same as 6 
to 7, 12 from 6 is the same as 7 to 8. Draw- a line from 
6 through to 12. Draw a line through 10 from 1 to 13. 
Finish as represented in draft. 



COAT WITH SET-IN SLEEVES. 

By W. E, Klimmacii. 



DIAGRAM 1. 

The block is the wider outline as shown in solid line. 
The second shoulder formation is the heavy dot and dash 
line and may be made to suit the width desired. The scye 
is dropped '< inch in this case, but may be dropped as far 
as you please. 



DL\GRAMS 1 AND 2. 

Regular block sleeve is shown in fine solid line and 
dotted line for under sleeve. Find your center line and 
raise the head as much as shoulder has been reduced, shown 
by fine dot and dash lines. Take out about •% inch "V" 
at top. 

The elbow seam has been raised as much as coat has 
been reduced at back notch which in this case is IVS inch. 





237 



ATTITUDE 

Bv Liiuis M. Gray 



DIAGRAM 1. 




In the year 1903, when located in Cincinnati, Ohio, I 
pubhshed a work on cutting which I named "The Automatic 
IncHne Method," and although it was in advance of any- 
thing along that line ]ntblished up to that time, it was not 
satisfactory for the reason that it did not solve the incline 
problem. 

The method I am sending you for publication comes 
as near, I think, of solving the problem as any incline 
system ever published. The reason for that is that for the 
stooping form it lengthens the hack the same amount that 
the front shoulder is shortened and advanced, while for the 
erect figure it shortens the back the same amount that the 
front shoulder is lengthened and retreated. This is all 
that was ever expected of the incline measure. 

This system is worked out on the principle that the 
normal incline is 3 inches ; therefore more than this means 
stoop and less means erect. In drafting I use % inch for 
each inch of incline. When measuring, stand back of client. 
Throw the tape over his shoulders, the ends hanging down 
in front of his arms, then reach under his arms, taking hold 
of each end of the tape and draw it back and forth a few 



DIACRAM :!. 




times until it settles itself at the height of neck. Then mark 
at top edge of tape. The amount above this mark is neck 
height and belongs to the collar stand and is no more a 
part of the coat than the sleeves. Ne.xt, with sliding arm 
square, arms resting on shoulder ends (see that it is per- 
fectly level), make a mark at center seam of back. This ,s 
the shoulder slope. 

Now take your yard stick, placing it on the back be- 
tween blades and touching seat measure m to the mark 
at neck for the incline. 

These are all the measures that are necessary with the 
breast, waist, hip and lengths. 

THE DRAFT. 
Measures normal. Breast 38, waist 34, seat 39, incline 
3 inches. Shoulder slope 3 inches. Length to natural waist 



238 



17, full length 30, height 5 feet 1 inch. 

Draw the center line and make a mark at A ; 2 from A 
is the incline of ^ inch. 3 from A is the same ; 4 from A 
is shoulder slope, 3 inches. 5 from 4 is one-third breast ; 
6 from 2 is natural waist ; 7 from 6 is 6 inches always ; 8 
from 2 is full length. Square out from 2 about 4 inches. 
Square out 3 full length of long arm of square. Square out 
4 about 9 inches and 5, 6, 7 and 8 full length of long arm. 
9 from 6 is 34 inch. 10 from 8 is J-S inch. Draw a line 
from a point half way between 3 and 5 to 9 and down to 10. 
11 is located on this line. 12 from 11 is one-half of breast. 
13 from 12 is 3 inches always. 14 is squared down from 
13. 15 from 13 is incline ^ inch. Square up to 29. 16 
from 11 is one-half of breast. 17 from 16 is 2 inches. 18 
from 17 is IJ^ inches. 19 from 14 is IJ2 inches always. 
Place corner on square at 19 with short arm touching at 13 
and square out. 20 fron; 19 is one-half of waist on the 
division of halves. 21 is 114 inches from 20. 22 is found 
by squaring down from 21. 23 from 22 is one-fourth of 
breast. 24 is half way between 11 and 15. 25 from 24 is 
1J4 inches. 26 is squared up from 25. 27 is squared out 
from 4. 28 from 27 is ■>4 inch always. 29 is squared up 
from 15. 30 from 29 is 4 inches for all sizes from 36 in- 
clusive up. From 35 inclusive down make it one-sixth 
breast and 1 inch. 31 from 30 is one-fourth breast. 32 



from 31 is Ijj inches. Draw a line from 31 to 17. 33 
from 31 is one-sixth of breast less J4 inch. 34 is squared 
down from 19 by line 19 to 21. 35 from 10 is same as 11 
to 25. Draw line from 24 to 35. 36 is located by applying 
two-thirds of seat measure from 39 to 41 and from 34 to 
36. Draw line from 12 through 36. 37 from 2 is one-sixth 
of breast. 38 from 37 is ^ inch. 39 is found by line drawn 
from 24 to 35. 40 is ■/ inch from 42. 41 is found from 
line drawn from 9 to 10. 42 is line drawn from 12 
througli 36, 



Note. — 26 up from 27 is 2^ inches always, 
from 26 to 30 for front shoulder slope. 



Draw line 



DIAGRAM 2. 
36 breast, 30 waist, 37 seat. 8 inch incline. Shoulder 
slope 2}i inches. 

Point 1 is % inch up and point 2 is 2% inches up. 

DIAGRAM 3. 

Breast 44, waist 46, seat 45, incline 2 inches. Shoulder 
slope 3 inches. Y back to 4 is J/^ inch for each inch waist 
is larger than proportions. Draw line from 4 through 8. 
Do just the reverse when the waist is smaller than propor- 
tion. 



BUSINESS FROCK 

By Walter C. Foster 



Breast, 41 ; waist, 37; seat, 43; lengths, 18^^, 39K'- 

1 to 2, one-third breast and 3 inches ; 1 to 3 natural 

waist ; 1 to 4, fashionable waist ; 1 to 5, full length ; 2 to 6, 

one-half breast ; 6 to 7, 3^4 inches ; 2 to 8, full breast ; 8 to 

9, 3v4 inches. Square down 8 to 23. 3 to 10, 1 inch; 10 




to 11, one-third waist and 2^ inches. To get 12, measure 
10 to 11 and 23 back to 12 at waist measure. Square up 
from 8 to 13; 13 to 14, one-eighth breast measure; 7 to 15, 
one-fourth breast; 15 to 16, one-third breast and 1 inch. 
To get spring of skirt measure 17 to 18, which is 3% inches ; 
place on 19 and measure back on 2/3 scale for run of 
spring. 21 to 22 is amount out at waist side seam. 

Size 19^. Square lines 3^. 2 to 3, one-fourth arm 
scye. Square back from 3. 2 to 4, one-twelfth arm scye; 
5 is one-half of 2 to 4; 4 to 6, one-half arm scye; 6 to 7, 
yi inch ; 3 to 1 is one-twelfth scye and J/2 inch ; 3 to 8, 
one-twelfth scye ; 7 to 9, one-sixteenth scye ; 10 is center of 
sleeve; 11 is one-half distance 4 to 6; 11 to 12, one-eighth 
scye; 13 is one-half distance 11 to 12. Elbow is one-half 
less sleeve length ; hollow fronts three-fourths. Placing 
tape on 7, sweep from 14 to 15, guide lines through points 
as directed and shown on draft for finishing. 




THE MAN ON STICKS (CRUTCHES) 

Bv Wilson Geddes, 





The Coat. 

It is impossible to set regular measurements of the man 
who always stands and walks on crutches. Therefore I 
draft a regular pattern by his breast and waist measure, and 
I will show you the changes I make by comparison. ( )wing 
to the fact that the customer puts his weight on the crutches 
it is surprising what a small armhole he will stand for and 
look pleasant. The depth of the scye in this draft is 53-1 
inches and the size of the armhole is 13J.4 inches; go back 
at the shoulder point }i to make the shoulder more crooked, 
C to D is 1 J4 inches ; E to F is 2^4 inches. Fill in around 
the armhole as shown on diagram. This type of a customer 
is always very narrow in the back and chesty with a promi- 
nent seat. Make the front of the coat larger than usual at 
the lower button. Make the shoulder of the coat narrow. 
Put about a ')4-inch stand on the collar. I have treated 
over thirty suits in this manner and the customers come 
back. The dash lines on the diagram show the normal 
pattern, the heavy lines show the changes I make for this 
type of a customer. 

The Vest. 

Make a normal pattern by the breast and waist meas- 
urements, manipulate the front by splitting the pattern from 
No. 6 to 7 and from No. 7 to 8, also from No. 7 to 9. Open 
the pattern at No. 6 2% inches, remark the outside of the 
pattern, also the V from the No. 6 to No. 7. Reduce the 
size of the pattern in the front }i of an inch at No. 9. Cut 
the V in the cloth from No. 6 to No. 7. Reduce the back 




240 



at E ^ of an inch. Shorten the center of the back 1^ 
at F. Give ^-4 extra spring at G. H to I is 2y2 inches; 
I to K is ^ ; L to M is 1>4 ; N to O is 114 ; P to Q is H. 
The Trousers. 
Owing to the fact that the customer is sitting most of 
the time I crooked the seat about 3 inches more than normal 



to give him ease. A to B is 3 inches ; C to D is 3 inches. 
Fill in about J4 of an inch at E. Make the front of the 
trousers y^ inch higher than regular, and the back J4 
shorter. 



RAGLAN 

By D. F. Sherman 



COAT DRAFT. 

Breast, 44. — 1 to 2 normal scye depth ; to 3, two and one- 
half inches. Line 4, IJ/2 inches below breast line "3"; 5 to 
6, front shoulder length ; 3 to 5, front of scye, J4 breast 
and 33^ inches; 7 to 8, 2j4 inches. 

The drapery is a matter of style and individual taste. 
Point 6 is always J4 inch less than ^ breast ; "A'' is Yi 
breast on this pattern. 8 J/2 distance from 3 to 5 and 1^ 
inches C to B ; J4 inch D to E, ^ inch. 

SLEEVE. 
Measure from Y% below 5 to 8 and 7 to B, in this case 
13 inches. Draw line "A" from A B, same as on coat pat- 



tern from 8 to B ; 1 to 2 same as 5 to 8 and 7 to B on coat 
pattern ; 3 is J^ from 1 to 2 ; 1 to 4 same as B to A on 
back, plus 1 inch ; 2 to 5 same as 5 to 6 on forepart, plus 
1 inch; 6 is 1 3/2 inches from front sleeve line; to 12 on 
forepart same distance as to 2 on under sleeve. 

Shape sleeve as per diagram ; seam through top or under 
sleeve may be put in or left out, according to width of sleeve 
and style of coat desired. Shape under sleeve. Reduce 1 
inch at D. Shrink in under sleeve well from D to 2 and 
hold under sleeve tight; from front seam 2 about 3 inches 
back. 





241 



THE CREDIT SYSTEM. 

In an able address, delivered before the Chicago Society of Merchant Tailors, in 1911, Mr. 
Lawrence Whitty, Member of the National Association of Credit Men, and Credit Manager for the 
firm of John L. Bobo & Company, of Chicago, discusses the problematic position of the Custom Tailor 
in relation to the abuses of the credit system from which the trade suffers so unjustly, and offers a 
solution which is worthy of your careful consideration. 

On account of the fundamental importance of this subject, and of the value of Mr. Whitty's 
suggestions, coming as they do from one whose experience in this line qualifies him to speak with 
authority, I am giving space to a brief review of this article, which I desire to commend to your earnest 
attention. 

Mr. Whitty, then, shows the degrees by which the young man who pays cash for his first Tailor- 
made suit, gradually becomes careless in later years, in respect to his Tailor's bill, albeit in the mean- 
time his income has presumably increased in inverse proportion to his promptitude in payment. 

It is noticeable that this method is not followed in dealing with merchants in any other line, 
the bills of the proverbial "butcher, baker and candle-stick-maker" receiving more immediate attention. 
As clothes certainly must be regarded as one of the necessaries of life, there seems to be no 
logical reason for this attitude on the part of the householder, and we can find no justification for it 
from any standpoint. We suffer it because we have submitted to it, and we shall continue to suffer 
it until we institute a vigorous, concerted protest against it. 

Responsibility for continuance of this situation rests, therefore, with the Tailor himself, Mr. 
Whitty concludes, and the remedy must come from united action on the part of the trade at large. 

The expediency of Custom Tailors becoming members of the National Association of Credit 
Men, to which Mr. Whitty belongs, as stated above, or to some similar organization, as a basis for co- 
operation to this end, is considered as a starting point. 

Practical plans would include the posting by each member in his place of business, of a notice 
to the effect that no goods would be sold on longer than thirty days' time. 

There would be a further agreement to compel compliance with these terms so far as possible. 
Mr. Whitty believes that such action would not result in any considerable loss of business, but 
that the better class of customers would adjust themselves to the new system, and would continue to 
give their patronage to the same firms. The shifting element would consist of the undesirable cus- 
tomers. There would be a distinct improvement in promptness of payment on the part of reliable 
patrons, and the lost custom would represent a very distinct saving. 

242 



Mr. Whitty does not believe that this reform is impossible of achievement, but that with an 
effective working organization the evils we are considering are capable of correction. Co-operation 
would be essential to the success of any movement in this direction. If inaugurated according to a 
logical system, given time and continuity of effort, an agency of this class might be made efficient 
for consequential reforms. 

Continuing the discussion of measures used by tailors in making collections, Mr. Whitty be- 
lieves that the advisability of allowing discounts is open to question, if this system is not absolutely 
pernicious. As a matter of fact the customer does not expect, and the Tailor cannot afford it. 

The following outline of a collection scheme submitted by Mr. Whitty is worthy of a place 
in this volume, and I quote it verbatim: 

"Statements clearly indicating that bills are payable in 30 days should accompany the delivery 
of clothes. 

"In case of non-settlement, a second statement should be sent promptly at the expiration of 
the 30 days. 

"Under ordinary circumstances the account would be settled by this time, but if it is not, more 
drastic action should be taken. 

"Another letter should be sent giving the debtor a specified time in which to make settlement. 

"Ordinarily a customer who ignores a letter of this kind is hopeless. 

"Telephone calls might be effective in a case like this, but the merchant tailor should be care- 
ful not to accept any half-way indefinite promise in such a conversation. 

"Dunning letters should be courteous but firm, and without apology. 

"Collections should be followed up faithfully, and systematically. 

"A valuable asset to such a system is a small and inexpensive card index, upon which the his- 
tory of the case can be written and filed for ready reference." 

Considering furthering the method of collection of bad accounts, Mr. Whitty instances the 
unusually high percentages charged by agencies for this class of debts to Tailors, as another imposi- 
tion from which the trade suffers. He considers that the tardiness of the tailor in placing his claims 
for collection is responsible in part for this. The establishment of a bureau for the collection of 
this class of accounts by the National Association would be a means of meeting this exigency, prob- 
ably at less expense than present methods entail and doubtless more efficiently. 

Such an agency could probably be operated at an expense of five or six thousands per annum, 
and this sum, distributed among one hundred members, say, would not be equal to amounts now 
paid collection agencies, and would it is hoped bring much better returns. A great advantage would 
be that the Tailor having paid his dues in advance, would have nothing to gain by delay, and would 
act upon claims when action should become necessary. Details could be worked out according to 
the needs of the system to be adopted. A young and energetic attorney would be the type of ex- 
ecutive for such a Bureau, and data collected by such an organization would serve as a classification 
of patrons, so that undesirable customers could be identified. 

I will say again that this plan is worthy of careful consideration, offered as it is by a special- 
ist in this line, and I trust that it will receive your earnest attention. In our efforts for system- 
atization and evolution of the different departments of our work, we cannot afford to ignore the 
need of a different system of handling accounts. 

243 



SYSTEM IN TAILORING 

Eliminating Guess Work. 

Under this caption Mr. William H. Vehon has compiled some interesting and important sug- 
gestions for the conduct of the details of the business side of Custom Tailoring which I commend 
to your careful attention. His initial observation that the tailor is inclined to rely too much upon 
his skill as a craftsman and to neglect and disregard the commercial side of his vocation is but too 
true, as elsewhere stated. We can do no better in looking for a remedy for this deficiency than to 
study the methods outlined in Mr. Vehon's brochure, which are practical and directly to the point. 



B)- Air. \'ehon's system you will he able to determine 
if your present scale of prices is sufficient to afford you 
a reasonable profit. If not it will behoove you to adopt 
a new scale, based upon this system of computation. 

Under a subhead of Leaks and Waste, Mr. Vehon 
discusses losses from bad accounts, extravagant habits 
of living, injudicious buying, failure to discount bills, 
wasteful advertising, losing customers, careless pack- 
ing of goods, careless and inexcusable mistakes. 

Another subhead. The Cost Record Sheet, introduces 
to the reader a valuable suggestion for tabulating profit 
and loss which has the endorsement of the National Busi- 
ness Efficiency Committee. The Cost Record Sheet 
furnishes the following information : 

1. Quantity and cost of your woolens, trimmings, 
and labor. 

2. Net profit and loss. 

3. This is a check on your cloth cutter and trimmer. 

4. Record of complaints. 

5. Reasons for correction of selling prices. 

A Record book should show you the precise cost 
of every item used, the amount paid out for labor, up- 
keep and all overhead expenses. 

A card index of your customers, showing date and 
itemizing purchases, is recommended as of first import- 
ance to the tailor. Intervals between dates indicates 
seasons when he failed to give you his custom, and other 
data will supply you with detailed information about his 
wardrobe, thus enabling you to make practical sugges- 
tions as to his needs. It will inform you also of the 
class of merchandise that appeals to him. and prices he 
is accustomed to pay. 

The card index will also be found useful as a mail- 
ing list. 

A stock record system on cards is another feature 
of this system, carrying the same endorsement. It shows 
you always just what stock is kept on hand, with sam- 
ples. It furnishes a ready reference list for the buyer, 
convenient and inexpensive. 

A standardized order form has been prepared by the 
same committee, which will be found both economical 
and highly practical. It covers every item that enters 
into the transactions it is expected to record, and is con- 
structed on the duplicate carbon copy plan. It makes 
provision for every step in the process of the work as it 
passes _ through the different departments until ready 
for delivery, together with complete data relating to the 
garment, to be filed with the pattern. 

A repair work ticket provides a system for regulat- 
ing and recording items in this most difficult department, 
enabling the Custom Tailor to obtain correct figures of 
expenses of busheling. 

Book-Keeping. 

Two systems of book-keeping are outlined, one con- 
sisting of Ledger, Cash Book and Journal. 

The ledger carries all accounts and should be divided 
as follows: General accounts. Capital, Merchandise, Cash, 
Sales, Repairs and Cleaning, Expense, Manufacturing, 
Profit and Loss. 



As many expense accounts may be carried as needed. 

The Cash Book shows cash paid and received. 

Items to be posted direct to Ledger are entered in 
columns headed "Ledger Accounts." Other items are 
posted in total at end of each month to the various ac- 
counts in the Ledger, as "Cash Sales," "Sales Accounts," 
etc. 

Expense items are entered in expense coluiun. and 
debited in Ledger by total amount. 

At the end of each month the total of the "Total 
Column" on the Dr. side of the Cash Book is debited to 
"Cash Account" in the Ledger, and the total of the same 
column of the other side of the Cash Book is credited to 
the "Cash Account," and the balance in the "Cash Ac- 
counts" represents your cash balance. 

The Journal is divided into two sections, for sales 
and purchases. Sales to a customer with whom you 
carry an account are entered here, also repairs and clean- 
ing charges. 

At the end of the month the total of the sales column, 
less the debits, is credited to the "Sales Account" in the 
Ledger, and the total of the Repair and Cleaning column 
is credited to the "Repair and Cleaning" accoimt in the 
Ledger. 

Purchases are entered in the Debit column and posted 
to the credit of the party from whom you made the 
purchase, charges against said party being entered in 
credit column and charged to this party's accoimt in 
Ledger. 

At the end of the month the total of the Dr. column 
less the total of the Cr. column is charged to the Mer- 
chandise account in the Ledger. 

Columns are also shown in the Journal for keeping 
ciist of Woolens and Trimmings. 

At the end of the year transfer total of expense, 
manufacturing and merchandise (less inventory) account 
to the Dr. side of Profit and Loss account, and the Sales 
and Repairs and Cleaning to the credit side, and the 
difference will be your profit or loss to date. 

System Number Two comprises a Cash Book and 
Journal combined, and is operated with a Sales Journal 
only. This being a more extensive plan requires a per- 
sonal demonstration, which the Committee is prepared 
III mrkc 1iv means of charts. 

Monthly and yearly Profit and Loss statements are 
also prepared. 

Advertising is gi\-en its mead of attention, the im- 
portance of this department being duly emphasized. 
Newspaper advertising does not meet the needs of the 
Custom Tailor, because of the restricted mmibers of his 
clientele. Mailing cards, booklets, form letters, post 
cards, calendars, blotters, house organs, announcements, 
are some of the suggestions. 

Price cutting is defined as "pure cussed laziness," 
and further censured as a "crime aafainst your famih', 
your fellow merchants, and yourself." It is "failure to 
conserve legitimate profit." 

Service is defined as "giving prompt and efficient at- 
tention at as low a cost as possible." 



244 



UNIVERSAL YARDAGE TABLE 



Yds. 


$1.25 1 


.37H 1.60 1 


.62H 1.75 1 


.87}^ 


2.00 2.12,'i 


2.25 : 


2.37'A 2 


.50 


2.62>^ 


2.75 


2.87H 3.00 


3.12.^^ 

Yds.^ 


IH 


1.41 


1 . 55 1 . 69 


1.83 1.97 


2.11 


2.25 


2.39 


2.53 


2.67 2 


.81 


2.95 


3.09 


3.23 


3.38 


3.52 


IH 


IK 


1.56 


1 . 72 1 . 88 


2.03 2.19 


2.34 


2.50 


2.66 


2.81 


2.97 3 


.13 


3.28 


3.44 


3.59 


3.75 


3.91 


IH 


IH 


1.67 


1.83 2.00 


2.17 2.33 


2.50 


2.67 


''.83 


3.00 


3.17 3 


.33 


3.50 


3.67 


3.83 


4.00 


4.17 


IH 


t% 


1.72 


1 . 89 2 . 06 


2.23 2.41 


2.58 


2.75 


2.92 


3.09 


3.27 3. 


,44 


3.61 


3.78 


3.95 


4.13 


4.30 


IH 


IH 


1.88 


2.06 2.25 


2 . 44 2 . 63 


2.81 


3.00 


3.19 


3.38 


3.56 3 


.75 


3.94 


4.13 


4.31 


4.50 


4.69 


IH 


1^ 


2.03 


2 . 24 2 . 44 


2 . 65 2 . 84 


3.05 


3.25 


3.45 


3.66 


3.86 4 


.06 


4.27 


4.47 


4.67 


4.88 


5.08 


154 


I'i 


2.19 


2.41 2.63 


2.84 3.06 


3.28 


3.50 


3.72 


3.94 


4.16 4 


.38 


4.59 


4.81 


5.03 


5.25 


5.47 


I'A 


iJi 


2.34 


2.58 2.81 


3.05 3.28 


3.52 


3.75 


3.98 


4.22 


4.46 4 


.69 


4.92 


5.16 


5.39 


5.63 


5.86 


i-H 


2 


2.50 


2.75 3.00 


3.25 3.50 


3.75 


4.00 


4.25 


4.50 


4.75 5 


.00 


5.25 


5.50 


5.75 


6.00 


6.25 


a 


2H 


2.66 


2.92 3.19 


3 . 45 3 . 72 


3.98 


4.25 


4,52 


4.78 


5.05 5 


.31 


5.58 


5.84 


6.11 


6.38 


6.64 


2H 


2>i 


2.81 


3.09 3.38 


3.66 3.94 


4.22 


4.50 


4.78 


5.08 


5.34 5 


.63 


5.91 


6.19 


6.47 


6.75 


7.03 


2% 


2\i 


2.92 


3.21 3.50 


3.79 4.08 


4.. 38 


4.67 


4.96 


5.25 


5.54 5 


.83 


6.13 


6.42 


6.71 


7.00 


7.29 


2H 


2H 


2.97 


3.27 3.56 


3.86 4.16 


4.45 


1.75 


.5.05 


5.34 


5.64 5 


.94 


6.23 


6.53 


6.83 


7.13 


7.42 


2% 


2H 


3.13 


3.44 3.75 


4 . 06 4 . 38 


4.69 


5.00 


5.31 


5.63 


5.94 6. 


25 


6.56 


6.88 


7.19 


7.50 


7.81 


2)4 


2^ 


3.28 


3.61 3.94 


4.27 4.59 


4.92 


5.25 


5.58 


5.91 


6.23 6 


.56 


6.89 


7.22 


7.55 


7.88 


8.20 


2% 


a?i 


3.44 


3.78 4.13 


4.47 4.81 


5.16 


5.. 50 


5.84 


6.19 


6.53 6 


.88 


7.22 


7.56 


7.91 


8.25 


8.59 


2H 


2K 


3.59 


3.95 4.31 


4 . 68 5 . 03 


5.40 


5.75 


6.11 


6.47 


6.84 7 


.19 


7.55 


7.91 


8.27 


8.63 


8.98 


2% 


8 


3.75 


4.13 4.50 


4 . 88 5 . 25 


5.03 


6.00 


6.38 


6.75 


7.13 7 


.50 


7.88 


8.25 


8.63 


9.00 


9.38 


3 


3Ji 


8.91 


4 . 30 4 . 09 


5 . 08 5 . 47 


5.80 


6.25 


0.64 


7.03 


7.42 7, 


,81 


8.21 


8.59 


8.99 


9.38 


9.77 


3H 


3« 


4.06 


4.47 4.88 


5.28 5.09 


6.09 


6.50 


6.91 


7.31 


7.72 8. 


,13 


8.53 


8.94 


9.34 


9.75 


10.16 


SK 


3M 


4.17 


4.58 5.00 


5.42 5.82 


6.2.5 


6.67 


7. OS 


7.50 


7.92 8. 


,33 


8.75 


9.17 


9.58 


10.00 


10.42 


3H 


i% 


4.22 


4 . 64 5 . 06 


5.49 5.91 


6.33 


6.75 


7.17 


7.59 


8.02 8, 


,44 


8.86 


9.28 


9.70 


10.13 


10.55 


2% 


3H 


4.38 


4.81 5.25 


5.69 6.13 


0.56 


7.00 


7.44 


7.88 


8.31 8 


.75 


9.19 


9.63 


10.06 


10.50 


10.94 


SH 


ays 


4.53 


4.99 5.44 


5.90 6.34 


6.80 


7.25 


7.70 


8.16 


8.61 9 


.06 


9.52 


9.97 


10.42 


10.88 


11.33 


3% 


3% 


4.69 


5.16 5.63 


6.09 6.56 


7.03 


7.50 


7.97 


8.44 


8.91 9. 


38 


9.84 10.31 


10.78 


11.25 


11.72 


3H 


3H 


4.84 


5.33 5.81 


6.30 6.78 


7.27 


7.75 


8.24 


8.72 


9.21 9. 


69 


10.17 10.66 


11.14 


11.63 


12.11 


3% 


4 


5.00 


5.50 6.00 


. 50 7 . 00 


7.50 


S.OO 


8.50 


9.00 


9.50 10 


,00 


10.50 11.00 


11.50 


12.00 


12.50 


4 


*H 


5.16 


5.67 6.19 


6 . 70 7 . 22 


7.73 


8.25 


8.76 


9.28 


9.79 10 


.31 


10.83 11.34 


11.86 


12.38 


12.89 


4H 


4M 


5.31 


5.84 6.38 


6.91 7.44 


7.97 


8.50 


9.03 


9.56 10.09 10 


,63 


11.16 11.69 


12.22 


12.75 


13.28 


4}i 


4M 


5.42 


5.96 6.50 


7.05 7.58 


8.13 


8.67 


9.21 


9.75 10.30 10, 


,83 


11.38 11.92 


12.46 


13.00 


13.55 


4}f; 


45^ 


5.47 


6.02 6.56 


7.11 7.06 


8.20 


8.75 


9.29 


9.84 10. 39 10 


,94 


11.48 12.03 


12.58 


13.13 


13.67 


4H 


iH 


6.63 


6.19 6.75 


7.31 7.88 


8.44 


9.00 


9.56 


10.13 10.69 11. 


25 


11.81 12.36 


12.94 


13.50 


14.06 


4H 


i% 


5.78 


6.36 6.94 


7 . 52 8 . 09 


8.67 


9.25 


9.83 


10.41 10.98 11. 


5G 


12.14 1 


,2.72 


13.30 


13.88 


14.46 


45i 


*H 


5.94 


6.53 7.13 


7.72 8.31 


8.91 


■9.50 


10.09 


10.69 11.28 11. 


88 


12.47 13.08 


13.66 


14.25 


14.86 


4M 


m 


6.09 


6.70 7.31 


7.92 8.53 


9.15 


9.75 


10.36 


10.97 11.59 12, 


,19 


12.80 13.41 


14.02 


14.63 


15.23 


4J« 


6 


6.25 


6.88 7.50 


8.13 8.75 


9.38 


10.00 


10.63 


11.25 11.88 12. 


50 


13.13" 13.75 


14.38 


15.00 


15.63 


5 


Yds. 


$3,253.37)^ 3.503.62>3' 3.753.87K 


4.00 4.12 1^ 


4.25 


4.37 1.J 


4. 


50 4.62H 


4.75 4.87K 


5.00 


Yds. 


IH 


3.66 3 


.80 3.94 4, 


,08 4.22 4. 


,36 


4.50 


4.64 


4.78 


4.92 


5. 


08 5. 


20 


5.34 


5.48 


5.63 


IH 


i-H 


4.06 4 


.22 4.38 4, 


,53 4 . 69 4 


.84 


5.00 


5.16 


5.31 


5.47 


5. 


63 5, 


,78 


5.94 


6.09 


6.25 


i-Vi. 


I'A 


4.33 4. 


.50 4.67 4 


83 5.00 5. 


,17 


5.33 


6.50 


5.67 


5.83 


6. 


00 6 


,17 


6.33 


6.50 


6.67 


IM 


1% 


4.47 4 


.64 4.81 4, 


99 5.16 5. 


33 


5.50 


5.67 


5.84 


6.02 


6. 


19 6. 


36 


6.53 


6.70 


6.88 


i.V» 


IM 


4.88 5 


.06 5.25 5 


.44 5.63 5 


.81 


6.00 


6.19 


6.38 


6.56 


6. 


75 6, 


94 


7.13 


7.31 


7.50 


IH 


iVs 


5.28 5 


.48 5.69 5 


.89 6.09 6 


.30 


6.50 


6.70 


6.91 


7.11 


7. 


31 7. 


52 


7.72 


7.92 


8.13 


i-H 


i-H 


5.69 5 


.91 6.13 6 


.34 6.56 6, 


,78 


7.00 


7.22 


7.44 


7.66 


7. 


88 8. 


09 


8.31 


8.53 


8.75 


I'A 


tH 


6.09 6 


.33 6.56 6 


.80 7.03 7 


.27 


7.50 


7.74 


7.97 


8.20 


8. 


44 8. 


67 


8.91 


9.14 


9.38 


m 


2 


6.50 6 


.75 7.00 7, 


.25 7.50 7, 


,75 


8.00 


8.25 


8.50 


8.75 


9. 


00 9. 


25 


9 50 


9.75 


10.00 


2 


2% 


6.91 7 


.17 7.44 7, 


.70 7.97 S 


,23 


8.50 


8.77 


9.03 


9.30 


9. 


56 9, 


,83 


10.09 


10.36 


10.63 


2, "8 


aji 


7.31 7 


.59 7.88 8 


.16 8.44 8 


.72 


9.00 


9.28 


9.56 


9.84 


10. 


13 10, 


,41 


10 69 


10.97 


11.25 


2>A 


an 


7.58 7 


.88 8.17 8 


.46 8.75 9 


.04 


9.33 


.9.63 


9.92 


10.21 


10. 


50 10 


.79 


11.08 


11.38 


11.67- 


2H 


a»-i 


7.72 8 


.02 8.31 8 


.61 8.91 9 


.20 


9.50 


9.80 


10.09 


10.39 


10. 


69 10 


.98 


11.28 


11.58 


11.88 


2H 


an 


8.13 8 


.44 8 . 75 9 


.06 9.38 


.69 


10.00 


10.31 


10.63 


10. 9t 


11. 


25 11 


.56 


1 1 . 88 


12.19 


12. 50 


2y2 


2% 


8.53 8 


.86 9.19 9 


.52 9.84 10 


.17 


10.50 


10.83 


11.16 


11.48 


11, 


81 12 


.14 


12.47 


12.80 


13.13 


2% 


2% 


8.94 9 


.28 9.63 9 


.97 10.31 10 


.66 


11.00 


11.34 


11.69 


12.03 


12. 


38 12 


.72 


13 . 06 


13.41 


13.75 


2% 


2% 


9.34 9 


.70 10.06 10 


.42 10.78 11 


.14 


11.50 


11.83 


12.22 


12.58 


12 


,94 13 


.30 


13.66 


14.02 


14.38 


2y» 


3 


9.75 10 


.13 10.50 10 


.88 11.25 11 


.63 


12 00 


12.38 


12.75 


13.13 


13, 


,50 13 


.88 


14.25 


14.63 


15.00 


3 


8Ji 


10.16 10 


.55 10.94 11 


.33 11.72 12 


.11 


12.50 


12.89 


13.28 


13.67 


14 


.06 14 


.45 


14.84 


15.23 


15.63 


3}g 


2H 


10.56 10 


.97 11.38 11 


.78 12.19 12 


.59 


13.00 


13.41 


13.81 


14.22 


14 


.63 15 


.03 


15.44 


15.84 


16.25 


3J4 


8H 


10.83 11 


.25 11.67 12 


.08 12.50 12 


.92 


13 . 33 


13 75 


14.17 


14.58 


15 


.00 15 


.42 


15.83 


16.25 


16.67 


3« 


3?i 


10.97 11 


.39 11.81 12 


.23 12.66 13 


.08 


13. 50 


1'..92 


14.34 


14.77 


15 


.19 15 


.61 


16.03 


16.45 


16.88 


3% 


3>i 


11.38 11 


.81 12.25 12 


.69 13.13 13 


.56 


14.00 


1 I 44 


14.88 


15.31 


15 


.75 16 


.19 


16.63 


17.06 


17.50 


3Jj 


35i 


11.78 12 


.23 12.69 13 


.14 13.59 14 


.05 


W.M 


11.95 


15.41 


15.86 


16 


.31 16 


.77 


17.22 


17.67 


18.13 


3% 


3M 


12.19 12 


.66 13.13 13 


.59 14.06 14 


.53 


15.00 


15.47 


15.94 


16.41 


16 


.88 17 


.34 


17.81 


18.28 


18.75 


3H 


83^ 


12.59 13 


.08 13.56 14 


.05 14.53 15 


.02 


1 > . 50 


15.98 


16.47 


16.95 


17 


.44 17 


.92 


18.41 


18.89 


19.38 


3;s 


4 


13.00 13 


.50 14.00 14 


.50 15.00 15 


.50 


16.00 


16.50 


17.00 


17.50 


18 


.00 18 


.50 


19.00 


19.50 


20.00 


4 


4>i 


13.41 13 


.92 14.44 14 


.95 15.47 15 


.98 


16.. 50 


17.02 


17.53 


18 . 05 


18 


.56 19 


.08 


19.59 


20.11 


20.63 


4« 


4M 


13.81 14 


.34 14.88 15 


.41 15.94 16 


.47 


17.00 


17.58 


18.06 


18.59 


19 


.13 19 


.66 


20.19 


20.72 


21.25 


4}i 


4H 


14.08 14 


.63 15.17 15 


.71 16.25 16 


.80 


17.33 


17.88 


18.42 


18.96 


19 


.50 20 


.05 


20.58 


21.13 


21.67 


4« 


4K 


14.22 14 


.77 15.31 15 


.80 16.41 10 


.95 


17.50 


18.05 


18.59 


19.14 


19 


.69 20 


.23 


20.78 


21.33 


21.88 


4J^ 


4J^ 


14;63 15 


.19 15.75 16 


.31 16 88 17 


.44 


18.00 


18.56 


19.13 


19.69 


20 


.25 20 


.81 


21.38 


21.94 


22.50 


i'A 


4H 


15.03 15 


.61 16.19 16 


.77 17.34 17 


.92 


18.50 


19.08 


19.66 


20.23 


20 


.81 21 


.39 


21.97 


22.55 


23 . 13 


iya 


CM 


15.44 16 


.03 16.63 17 


.22 17.81 18 


.41 


19.00 


19.59 


20.19 


20.78 


21 


.38 21 


.97 


22.56 


23.16 


23.75 


4M 


4Ji 


15.84 16 


.46 17.06 17 


.67 18.28 :a 


i.89 


19.50 


20.11 


20.72 


; 21.33 


21 


.74 22 


!.55 


23.16 


23.77 


24.38 


iys 


6 


16.25 16 


.88 17.50 18 


.13 1.S.75 19 


.38 


20.00 


20.63 


21.25 


21.88 


22 


.50 23 


.13 


23.75 


24 . 38 


25.00 


6 



245 



CLAUD V. BEEMAN'S SYSTEM OF COST FINDING FOR 
MERCHANT TAILORS 

We will present herewith for the benefit of our readers a system of determining prices ac- 
cording to a percentage fixed for profit, which has for its sponsor no less an authority than Mr. Claud 
V. Beeman, to whose courtesy we are indebted for this valuable contribution. 

Mr. Beeman recognizes that many outside influences affect prices of materials so that the 
tailor can control only certain factors that enter into production, and these to a limited extent. He 
makes mention also of the tailor's absorption in the artistic aspects of his work, to the exclusion 
often of a proper attention to business detail. The cost finding system is intended to offset this tend- 
ency by supplying a means by which it will be easy for the tailor to calculate prices that will allow for 
a reasonable margin of profit. 

In the table appended only essentials are included, such variable items as freight and cost 
of patterns being omitted. The subject of this estimate is a popular priced business suit, one made 
to sell at from $25 to $40 for example. 

"We will figure fabrics to range in price from $1.75 to $3.00 a yard," Mr. Beeman continues. 
"We will figure the average suit to require 3^ yards of material. 

"For cost of trimmings we will make estimates on three different grades, figuring the actual 
cost of trimmings for the average size suit, being very careful to omit nothing. 

"For manufacturing we will figure our coats in three grades at $4.50, $5.50 and $6.50; vests 
at $1.25, $1.50 and $1.75, and pants at $1.25, $1.50 and $1.75. 

"From the statements preceding we have the following table of estimated cost per suit for 
woolens, trimmings and workmanship: 

Woolens per yard $1.75 $1.87i4 $2.00 $2,121^ $2.25 $2.37^ 

Cost 3 J4 yards 5.91 6.33 6.75 7.17 7.59 8.02 

Cost trimmings 2.09 2.09 2.09 2.92 2.92 2.92 

Cost making coat 4.50 4.50 4.50 5.50 5.50 5.50 

Cost making vest 1.25 1.25 1.25 1.50 1.50 1.50 

Cost making pants 1.25 1.25 1.25 1.50 1.50 1.50 

Cost per suit 15.00 15.45 15.84 18.59 19.01 19.44 

Selling price for 409? gross profit.. . 25.00 25.70 26.40 30.98 31.66 32.40 

Woolens per yard $2.50 $2.62^ $2.75 $2.87^ $3.00 

Cost 3^ yards 8.44 8.86 9.29 9.70 10.13 

Cost trimmings 2.92 3.75 3.75 3.75 3.75 

Cost making coat 5.50 6.50 6.50 6.50 6.50 

Cost making vest 1.50 1.75 1.75 1.75 1.75 

Cost making pants 1.50 1.75 1.75 1.75 1.75 

Cost per suit 19.85 22.61 23.04 23.45 23.88 

Selling price for 40^^ gross profit 33.10 37.68 39.40 39.08 29.80 

Figuring of profits on cost of manufacture presents so many difficulties, and has resulted so 
injuriously on this account in so many instances, that Mr. Beeman bases his figures on the selling 
price. This is not because the figuring of percentages on cost price or turnover would not give reli- 
able data, but because of the difficulties referred to above. 

"When a suit is sold we should have ^me idea," he goes on to say, "judging from past experi- 
ence, of just what percentage of the selling price is cost of woolens, trimmings, workmenship, also 
rent, advertising, salaries, general expense, usual loss on bad accounts, depreciation of fixtures and 
machinery, insurance, express, freight and drayage, and net profit." 

The question resolves itself into a problem in percentage. 

If 40% is the proportion of profit decided upon, the method of determining the selling price 
of a suit will be to divide the sum of all the items that enter into its construction by 100 minus 40, 
or 60 and the quotient being one per cent of the selling price, when multiplied by 100 will give the 
correct selling price. 

246 



The formula is given concisely as follows: 

Cost + (100 — % of gross profit) x 100 = selling price. 

"For instance a suit costing $15.00, as per cost table, should sell, in order to realize A0% gross 
profit on selling price, for $15 divided by 60, and the result multipHed by 100, or $25.00. 

"Let us suppose." Mr. Beeman continues, "we have done a business amounting to $50,000.00 
the past year. Having marked and sold out suits at a gross profit of 40% on the selling price,'there- 
by allowing tO'/t for woolens, trimmings and workmanship, and we have the following results: 

TRIAL BALANCE. 

Cash $10,752.75 

Accounts receivable 2 100.00 

Furniture and fixtures 1 200.00 

Accounts payable $ 1,650.00 

Capital 7,000.00 

Sundry expense 1,500.00 

Insurance 150.00 

Rent 3,000.00 

Salaries and store help 5 OOO.OO 

Express, frt, and drg 125.00 

Advertising 2,500.00 

Discount (on purchase) j 177 75 

Woolens purchased 14,250.00 

Trimmings purchased 6,075.00 

Manufacturing 13,175.00 

Net sales 50,000.00 

59,827.75 59,827.75 
TURNOVER (Cost of Goods Sold). 

Woolens purchased I4 250.00 

Woolens inventory 2 000.00 

Cost of woolens used 22 250 00 

Trimmings purchased 6,075.00 

Trimmings inventory \ 500.OO 

Cost of trimmings used 4 575.00 

Cost of manufacturing I3 175. oo 

Turnover (cost of goods sold) 30,000.00 

Sold for 50,000.00 

Gross profit on turnover 20 000.00 

"Merchandise purchased" is not included in this account but will be entered in Loss and Gain 
account as a revenue item "for future comparative purposes." Mr. Beeman adds that on account of 
its great importance this item will be considered interest on money advanced. 

"By computing the percentage of Woolens, trimmings and manufacturing used, on the sell- 
ing price, we find them to stand as follows: Woolens, 24-5/107^; Trimmings, 9-15/1007p ; Manufac- 
turing, 26-35/100%; totaling 60%, as originally allowed for them, and being the result of no cut in 
prices, or in case of cut prices excessive profits have been made on some goods sufficient to balance 
any cut prices that may have been made. 

"If at the end of the next year's business we find that the turnover is practically the same, but 
that the sales amount only to $40,000.00, or a profit of $10,000.00 on the above turnover, we know 
that the goods have been sold at a less ratio of profit than before, the result of cut prices. 

"Or if the turnover is more, and the amount of sales the same, we know that the cost of wool- 
ens, trimmings or manufacturing have probably increased, and we can intelligently trace the cause 
of difference. 

247 



LOSS AND GAIN. 

10% for Outstanding Bad Accounts $ 210.00 

157f for Depreciation of Fixtures 180.00 

Sundry expense 1,500.00 

Insurance 150.00 

Rent 3,000.00 

Salaries and store help 5,000.00 

Express, frt, and drg 125.00 

Advertising 2,500.00 

Discount (on merchandise purchased) 1,177.75 

Gross profit on turnover 20,000.00 



12,665.00 21,177.75 
Net Profit 8,512.75 



21,177.75 21,177.75 

RESOURCES AND LIABILITIES. 

Cash 10,752.75 

Accounts receivable 2,100.00 

10% allowance for bad accounts 210.00 

Inventory, woolens 2,000.00 

Inventory, trimmings 1,500.00 

Inventory, fixtures 1,020.00 

Accounts payable 1,650.00 

Capital 7,000.00 

Surplus and undivided profits 8,512.75 



17,372.75 17,372.75 

Relation, in Per Cent, of Cost, Expense Items and Profit to Amount of Business Done: 

Woolens used $12,250.00 24 5/10% 

Trimmings used 4,575.00 9 15/100% 

Manufacturing 13,175.00 26 35/100% 

Rent 3,000.00 6% 

Advertising 2,500.00 5% 

Salaries and store help 5,000.00 10% 

Sundry expense 1,500.00 3% 

Bad accounts 210.00 42/100% 

Depreciation of fixtures 180.00 36/100% 

Insurance 150.00 3/10% 

Express, freight and drayage 125.00 25/100% 

Net profits, less profit through discount 7,335.00 14 67/100% 



$50,000.00 100% 



248 



"The proportion of cost, expense items and profit on the average price suit ($32.50) would be 
as follows : 

Woolens $ 7.9614 

Trimmings 2.97^ 

Manufacturing 8.565/^ 

Rent 1.95 

Advertising 1.62% 

Salaries and store help 3.25 

Sundry expense .975^ 

Bad accounts .13 13/20 

Depreciation of fixtures .11 7/10 

Insurance .09^4 

Express, freight and drayage -OSYs 

Net profit, not including discount on purchases 4.76 31/40 

$32.50 

"By carefully studying the above relations and proportions we are enabled to form some idea 
of the relation of the different items of expense, and our comparatively small net profit. Also re- 
alize how easily we can, through a small miscalculation, figure a business out of its profits. 

"Now going back to percentages on cost. All percentages of expense of any kind for com- 
parative records from year to year should be calculated on the turnover, or cost of goods sold, and 
not alone on the sales, because the turnover does not vary, but affords a fixed basis of cost, whereas 
the amount of the sales will always vary according to the ratio of profits at which the goods may 
be sold. For instance next year we may mark our gross profits on selling price at 50%, which 
would bring our gross sales to $60,000.00, and at the same time do business with the same expense. 

"Basing our percentage of expense on the selling price, it is seen, would show a decrease of 
percentage on all expense accounts, and at the same time the expenses would be just as large as 
they were when we were realizing 40^0 gross profit. It is evident, therefore, that all percentages 
of expense should also be based on the turnover, as the turnover fluctuates only in proportion to 
additional material and labor used. 

"Our percentages based on the turnover, $30,000.00, would be as follows: 

Woolens $12,250.00 40 83-1/3% 

Trimmings 4,575.00 15 25% 

Manufacturing 13,175.00 43 916-2/3% 



Sundry expense 1,500.00 

Insurance 1 50.00 

Express, frt, and drg 125.00 

1,775.00 5 916-2/3% 

Rent 3,000.00 10% 

Salaries and help 5,000.00 16 2/3% 

Advertising 2,500.00 8 3/10% 

Gross profit on turnover 20,000.00 66 2/3% 

249 




National Association of Merchant Tailors of America 




Organized 1910 



NATIONAL ASSOCIATION OF MERCHANT TAILORS OF AMERICA. 



Organized in 
Incorporated 



nder 



ual Convention, 

Chicago, 111. 
7th St., St. Lou 
Philadclphi! 



Officers, 1917, Elected at the Seventh Am 

Albert Mathews, President, 27 E. Monroe Si. 

George F. Driemeyer, Vice-President, 203 N. 

W. G. Witlin, Vice-President, 136 S. 12th St., 

Peter Thomson, Treasurer, Walnut and 12th Sts., Philadelphia, i «■■ 

Sam'l H. Spring, Secretary, Koom 209 Tremont Bldg., Boston, Mass. 

Executive Committee 

The Above-named Officers and 
Louis M. Nathan. Chairman. Colorado Bldg., Denver. Colo. 

D. J. Sammet, Secretary, 123 E. 4th St., Cincinnati, O. 
Harry Fisher (Ex-President). 680 Main St., Buffalo, N. Y. 
Robert Stewart, Jr., 1200 Walnut St., Philadelphia, Pa. 

W. G. Kelle, 22 W. Monroe St., Chicago, 111. 
E Woywod, 2729 Broadway, New York City. 

E. A. Kamerer, Garfield Bldg., Cleveland, Ohio. 
R. H. Card. 38 Niagra St., Buffalo, N. Y. 

C. H. Leith. Baylcs Bldg., Detroit, 

STANDING COMMITTEES 
Committee on Finance 
William E. Kenny. Chairman, Cincinnati. Ohio. 
John Melangton. Chicago, 111. 
Louis D. Starbird, Boston, Mass. 

Committee on Conventions 
William H. Dixon. Chairman. 1111 Walnut Street, Philadelphia, Pa. 
O. S. Roslund. Denver, Colo. 
Sam Smitt, Detroit, Mich. 

Committee on Membership 
Frank W. Maynard^ Chairman, Nashua, N. H. 
W. C. Mulcahy. Cleveland. Ohio. 
C. F. Drumm, Buffalo, N. Y. 

Committee on Tariff and Legislation 

E. Twyeffovt. Chairman, 580 Fifth Avenue. New York City. 
E. H. Snyder. Washington. D. C. 
George E. Hebbard. Washington, D. C. 





Committee 


R. K. Dyer. Chairman 
F. J. Illig. Erie. Pa. 
Ferd C. Saltier. Milw; 


1. Portland. Mi 
aukee. Wis. 



Committee on Constitution and By-Lav 
Richard Bennett. Chairman. 191 Broadway, New York. 
Joseph E. Selfe, Boston. Mass. 
Louis Slock, Detroit, Mich. 



Con 



littee 



Claude V. Beeman, Chairman. 20i 
William H. Vehon, Chicago, 111. 
John C. Walter, St, Louis, Mo. 



n Business Efficiency 

North Seventh Street, St. Louis, Mo. 



Committee on Publicity 

Samuel H. Spring, Chairman. Tremont Building, Boston, Mass, 
Herbert W. Gardner. Providence. R. 1. 
Thomas B. Armstrong, Louisville, Ky. 

Committee on Exhibits 
Roman L. Biskup, Chairman, Victoria Building. Si. Louis, Mo. 
Robert C. Wright, St. Louis, Mo. 

Committee on Labor and Trade Education 
Nagel, Chairman, 111 Broadway, New York City. 



Conrad 
Harvey 
Eugene 



Reed, Cleveland, Ohi< 
Hall, Rochester 



Committee oi 

Charles Coopey, Chairman, Portland, C 
Frank T. Brown, Chicago. 111. 
Harry O. Perry, Baltimore, Md. 

Committee 
M. B. Guilford, Chairman, 53G Fifth Avenue 
Jules C. Weiss, New York City, 
John C. Spann, Chicago, 111. 

Committee on Demonstration 

William P. Walker, Chairman, Peoria. 111. 
Lewis C. Tyler, Columbus, Ohio. 
Erik S. Petterson, Leavenworth, Kan. 

Committee on Banquet 

H. E. HoUoway, Chairman, Victoria Building, St. Louis. 



Fashions 

inue, New York City. 



Practical Work 



Building ; Robert 



Incorporated 1911 

BALTIMORE MERCHANT TAILORS' EXCHANGE. 

Robt. Physioc. President. 114 W. Fayette Street. 

W. L. Armstrong, First Vice-President, 110 W. Fayette Street. 

Peter Holmdalh, Second Vice-President. 16 E. Fayette Street. 

Jos. Civish, Treasurer, 18 E. Baltimore Street. 

Fred'k E. Hecklinger. Secretary, 18 St. Paul Street. 

Executive Committee. 
Wm. Hall, 24 E. Fayette Street ; Roland B. Joynes, 16 E. Fayette Street ; 
Chas, Schana, 1409 N. Charles Street. 

BOSTON MERCHANT TAILORS' EXCHANGE 

J. W. Jackson. President, 18 West Street. 

F. C. Skinner, Vice-President, Tremont Building. 
J. Henry Bean, Treasurer, 387 Washington Street. 
Sam'l H. Spring, Secretary, Tremont Building. 

Executive Committee. AU Officers Ex-Officio. 
J. J. Meagher, H. G. Flinn. C. S. Clement. 

BROOKLYN MERCHANT TAILORS' ASSOCIATION 
Isador Davis, President, 1267 Bedford Avenue, Brooklyn, N. Y, 
B. Sanders, Vice-President. 
S. Herman, Treasurer. 
M. Rosen, Financial Secretary. 
S. C. Gordan, Recording Secretary. 

B. Rudinausky, Sergeant-at-Arms. 

M. A. Levin. Chairman of Practical Work : Frank Phillips, Assistant Chairman. 
Trustees — M. A. Levin. I. Goodman, H. Kohen. 

BUFFALO MERCHANT TAILORS' EXCHANGE. 
John T. Gard. President. 38 Niagara Street. 
John T. Hartke, Vice-President, 64 Niagara Street. 
Elias Naffa. Secretary. 138 Pearl Street. 

G. Fred'k Drum. Treasurer, 416 Michigan St. 

Board of Directors : Fred W. Joyce, Harry Fisher, Edwin R. Dempsey, G. E. 
Lundquist, Barney A. Barlow. 

CHICAGO SOCIETY OF MERCHANT TAILORS 

Wm. Cooper, President, 27 E. Monroe Street. 

F. L. Rosenquist. First Vice-President. 314 S. Michigan Avenue. 

C. H. McCherty, Second Vice-President. 619 Davis Street, Evanston. 
Frank T. Brown, Treasurer, 22 W. Monroe Street. 

Prank E. Anderson. Secretary. 36 S. Stale Street. 
Geo. Koelle, Assistant Secretary, 112 Michigan Avenue. 

Executive Committee 
W. E. Kelle. 22 W. Monroe Street: C. A. McCarthy, Mo 
Renike, 8 S. Dearborn Street. 

CINCINNATI SOCIETY OF MERCHANT TAILORS 

First Organization January 12, 1900. Reorganized October 20, 1911. 
Wm. J. Bauer. President, 16 East Seventh Street. 

F. J. Wenstrup, Vice-President, First National Bank Building. 
William E. Kenney, Secretary, 10 West Seventh Street. 

Board of Trustees — W. A. Maue. J. L. Loeb, James McArdle, David Sammett. 

CLEVELAND MERCHANT TAILORS' EXCHANGE. 

James Harmacek, President. 

A. M. Rampe, First Vice-President. 

D. E. Mathias, Second Vice-President. 

G. A. Bentz, Secretary. 

Executive Board 
Messrs. Benes, Stack, Schnitker. 

Delegates to the Philadelphia Convention. 
Messrs. Rampe, Kub, Harmacek and Bush. 

Garment Exhibit Committee. 
Messrs. Rampe, Schnitker and Harmacek. 

DENVER EXCHANGE 
First Organized February, 1900. Meetings first Thursday each month. 
Andrew Schober, President, 611 Fourteenth Street. 
C. F. Banzhaf, Vice-President, 1614 Stout Street. 
J. N. Tobin, Secretary, 229 Sixteenth Street. 
William Webster, Treasurer, McClintock Building. 

DETROIT MERCHANT TAILORS' EXCHANGE. 

Harry Young, President. 

Chas. Moll, First Vice-President. 

Geo. W. Renchard, Second Vice-President. 

Wm. Y. Allen, Treasurer. 

George C. Herbst. Secretary, 102 Broadway. 

Directors : Sam Smith, Hugo Zander, C. Thomas Wind. 

ERIE, PA. MERCHANT TAILORS' EXCHANGE 
S. J. Alexander, President. 
Jno. Snyder, Vice-President. 
J. Frank Lynch, Secretary. 

Executive Committee. 
Al Boutall, Chas. Steiner, Louis Heiman. 

GRAND RAPIDS MERCHANT TAILORS AND CUSTOM CUTTERS' CLUIl 
S. W. Wells, President, 16 Division Avenue. 
Ed. Oosterhof, Vice-President, 24 Division Avenue. 
W. H. Strahan, Secretary, 340 Bridge, N. W. 
Dick Van Vliet, Treasurer, 207 Monroe Avenue, N. W. 
Axel Julian, Chairman Practical Work. 



250 



HOLYOKE EXCHANGE 

Ort'anized March 15, lull. MeetinsB lirsl Wtdnesday each month. 

M. A. Marks. iTesident a67 High Street. 

F. A. Stone, Vice-President, 34'i High Street. 

J. A. Codere, Vice-President, Dwight and Maple StreeU. 

M. S. Spies, Secretary, 368 High Street. 

R. A. Healey, Assistant Secretary, 692 Dwight Street. 

J. W. Wilson, Treasurer, 592 Dwight Street. 

Executive Committee 
Frank Hegg, J. A. Codere, M. S. Spies. 

JACKSONVILLE MERCHANT TAILORS' EXCHANGE 
A. W. Hedengren, President, Jacltsonville, Kla. 

E. Haut, Treasurer. Jacksonville. 

J. H. Henderson, Secretary, Jacksonville. 

LOS ANGELES MERCHANT TAILORS' EXCHANGE 
N. L. Biehl, President. 
Geo. Herrman, Vice-President. 
A. K. Brauer, Treasurer. 

Executive Committee 

F. H. Brown, Chas. Tartaglia. 

MANHATTAN MERCHANT TAILORS' ASSOCIATION, NEW YORK CITY. 

NEW YORK. 
Aaron 1. Binsky, President, Broadway and Thirty-eighth Street. 

A. Hlrtwell. Vice-President, 91 East Tenth Street. 
Arthur S. Kosenburg, Secretary, Everett Building. 

B. Jacobson. Treasurer, 205 East Seventeenth Street. 
Executive Chairman — Ludwig Koblitz, 219 Third Avenue. 

MEMPHIS MERCHANT TAILORS' EXCHANGE 
T. P. Walsh, President. 
F. L. Bode, Vice-President. 
M. Peiser, Treasurer. 

J. H. Bisno, Secretary, 77 McCall Place. Memphis, Tenn. 
NEW HAVEN EXCHANGE 

D. T. Lanrock, President, 262 Elm Street. 
Milton Machol, Vice-President, 956 Chapel Street. 
1. B. Nietel, Secretary, 1008 Chapel Street. 

Executive Committee 
A. L. Starni, Arthur Rosenberg, H. Rapaport. 

THE MERCHANT TAILORS' SOCIETY OF THE CITY OF NEW YORK 
Ortranized 1882. Incorporated 1891. .Meetings first Thursday in each month. 
J. Edward Johnson, President, 389 Broadway. 
Richard Bennett, First Vice-President, 189 Broadway. 
Geo. Kramer. Second Vice-President, 261 Fifth Avenue. 
Emil Twyeffort, Treasurer, 680 Fifth Avenue. 
W. A. Richmond, Secretary, 241 Fifth Avenue. 

OIL CITY MERCHANT TAILORS' ASSOCIATION 
Glenn Carroll, President. 
Fred H. Jack, Vice-President. 
A. Morrison, Financial Secretary. 
L. Hoehlein, Recording Secretary. 
V. Schwakopf, Treasurer. 
Trustees — A. Fleischman, A. Pitroff. 

THE MERCHANT TAILORS' EXCHANGE OP PHILADELPHIA 

Office of the Secretary, Rooms 526 and 527 Mutual Life Bldg., 1011 Chestnut 

Street. 
Robert Stewart. Jr., President, 16th and Walnut Streets. 
W. D. Rogers Muller, First Vice-President, 1437 Walnut Street. 
Henry Waters, Second Vice-President, 1305 Walnut Street. 
Peter Thomson, Treasurer, 12th and Walnut Streets. 
Charles Dubree. Secretary, 1011 Chestnut Street. 

Executive Committee. 
William G. Witlin, Chairman, 135 S. 12th Street. 
John E. Magerl, 136 S. 12th Street. 
William H. Di.xon, 1109 Walnut Street. 
Luigi Rienzi, 1714 Walnut Street. 
W. D. Rogers Muller, 1437 Walnut Street. 

PROVIDENCE MERCHANT TAILORS' EXCHANGE 
Julius A. Lofdal, President. 
Sidney J. Richards, Vice-President. 
A.xel Oden, Treasurer. 
Erik Lundin, Secretary. 67 Eddy Street. 

Executive Committee 
John F. McDermott, H. W. Gardner, A.xel Oden. 

ST. LOUIS MERCHANT TAILORS' ASSOCIATION 
H. E. HoUoway. President. 
Claude W. Gignoux, Vice-President. 
Arthur M. Freund, Secretary, 403 Carlton Bldg. 
Henry G. Schneck, Treasurer. 

Board of Trustees. 

Executive Committee. 

J. W. Losse, Jr. 

L. H. Usselman. 

SAN FRANCISCO MERCHANT TAILORS' ASSOCIATION 
Hotel Sutter. San Francisco, Cal. 

S. Mish. President. 

Theodore Planz, Vice-President. 

M. Forester, Secretary. 

TOLEDO MERCHANT TAILORS' EXCHANGE 

E. J. Huber. President. 

H. F. Daiber, Vice-President. 

H. S. Barfield, Secretary and Treasurer, 210-212 Nicholas Bldg. 
Executive Committee. 

F. W. K. Tom, Chairman. 

Officers ex officio— D. E. Nolan. W. N. Corl. 

TWIN CITY MERCHANT TAILORS' ASSOCIATION 
Carlton P. Schaub, President. St. Paul. 
Frank A. Reid, Vice-President. Minneapolis. 
Frank W. Greaves, Secretary, Minneapolis. 
Bert A. Clayton, Assistant Secretary, St. Paul. 
Thos. P. Pease. Treasurer. Minneapolis. 

Board of Directors- -Jos. T. Schusler. John A. Thornquibt, 3. O. Awsumb, 
St. Paul ; E. N. Young, E. & Fasthagen, Carl F. Struck, Minneapolis. 



MERCHANT TAILORS' EXCHANGE OF WASHINGTON 

L. Geraci, President, 1235 G St., N. W. 

F. A. Carlson, Vice-President, 1420 F St., N. W. 

Ferdinand Waldman. Second Vice-President, 609 7th N. W. 

E. H. Snyder. Treasurer, 1411 G St., N. W. 

Geo. E. Hebbard, Secretary, 1312 F St., N. W. 

George C. Shinn, Cor. Secy and Atfy, Evans Bldg. 

SARTORIAL CLUB OF WASHINGTON, D. C. (INC.) 
Hoose Committee 

Merchant Tailors— J. C. Wineman, J. W. Campbell, E. H. Snyder. 
Custom Cutters— C. G. Volk, E. B. Thiele. P. J. Foley. 
Ladies' Tailors— Robert Playm, E. W. Zea. F. C. Charley. 

One hundred and fifty Individual Members in 
extending from Eastport, Maine, to Spokane, Wa 
and Northwest, also Canada. 



Any Merchant Tailor of good moral chara< 
merits of his production is eligible to memben 
of Merchant Tailors of America, and if ther. 
city, communicate with Albert Mathews. Pre 
Chicago, 111., or National Secretary Samuel 
Boston, Mass.. who will give full infonnalion 
organization of local associations. 



ter who does business upon the 
hip in the National Association 
' is no local exchange in your 
iident. 27 East Monroe Street, 
H. Spring, Fremont Building, 
as to enrollment as well as the 




ALBERT MATTHEWS 

President of the National Association of Merchant Tailors 

of America. 



251 




International Custom Cutters' Association. 




334 N. Charles St. 



Officers for 1917. 
Charles J. Stack, President. Cleveland. Ohio. 
C. J. Levy, First Vice-President, Toronto, Canada. 
Gus Bren. Second Vice-President, Kansas City. 
Louis A. Banner, Secretai-y. 506 E. Monroe St., Springfield. 111. 
Charles S. McKee. Treasurer, 518 Col. Savings & Trust Bldg.. Columbus. 
W. R. Stanbury. Chairman of Practical Work. Quincy, III. 
L. C. Tyler. Chairman of Fashion Committee. Columbus. 
W. C. Foster, Chaii-man Nominating Committee, Chicago. 

LOCAL ASSOCIATIONS 
Albany Custom Cutters' Association 
David De Pelteau. President. 
Geo. Konzelman. Vice-President. 

W. R. Griffin. Secretary, 45 Maiden Lane, Albany, N. Y. 
Daniel Broderick, Treasurer. 

Alabama Custom Cutters* Club, Birmineham. Ala. 
L. G. Richter. President. 
S. Siegel, Vice-President. 
M. Jaysane, Chairman Practical Work. 

Allentown (Pa.) Custom Cutters" Club 

Chas. F. Snyder, President, 230 North 15th St. 

Henry P. Storch. Vice-President, 820 !/• North 6th St. 

Harrison E. Heimbach, Secretary, 237 North 9th St. 

Frank C. Moyer. Treasurer, 233 North 11th St. 

Horace C. Horberly, Chairman Practical Work, 41 South 10th St. 

Anthracite Custom Cutters' Club, Wilkes-Barre, Pa. 

0. M. Mansfield, President. East Stroudsburg, Pa. 

F. Miller, Vice-President. 12 N. Franklin St., Wilkes-Barre. 

Jacob Fuchs. Secretary, Carbondale, Pa. 

Martin Hellstrom. Treasurer, Carbondale, Pa. 

Theo J. eraser. Chairman of Practical Work. 131 Sambourne St., Wilkes-Barre. 

Steve Maguth. Assistant Chairman of Practical Work, 348 S. Main St., 

Wilkes-Barre. 
Trustees: John Shults. Wilkes-Barre; A. Karalokian. Wilkes-Barre: Geo. 

Glasser, Wilkes-Barre. 

Baltimore Custom Cutters' Club 
Fred E. Heeklinger, President 
Walter Busenius, Vice-President. 
N. Andrew EUinghaus. Secretary-Treasurer 
Chas. Schana, Chairman of Practical Work 
James B. Schaale. Librarian. 

Entertainment Committee : Chas. Schana, Chairman 
Paulus, James B. Schaale. Walter Busenius. 

Boston Custom Cutters' Club 
C. D. Medairos, President. 
A. Lombardi, Vice-President. 
H. P. Cromwell, Treasurer. 

Chas. P. Floyd, Secretary, 72 Lincoln St., Boston. 
S. H. Belson. Chairman of Practical Work. 
T. J. McCarthy. Assistant Chairman of Practical Work. 

The Custom Cutters* Association of Buffalo. 

Henry A. Ohrt, President, 121 Falls St.. Niagra Falls. N. Y. 
Frank W. Teal. Vice-President, Lockport, N. Y. 
Henry G. Sturm. Secretary, 548 Main St., Buffalo, N. Y. 
John X. Erler, Treasurer, 49 Court St., Buffalo, N. Y. 

Central Pennsylvania Custom Cutters' Club 
L. H. Anthony, President, Lock Haven. 
Geo. J. Wettlaufer, First Vice-President, Williamsport. 
M. E. Strunk, Second Vice-President, Mifflinburg. 
W. M. Applegate, Secretary, 317 W. 4th St., Williamsport. 
M. Kackenmeister, Treasurer, Williamsport. 
M. Kackenmeister, Chairman Practical Work, Williamsport. 
P. A. Bruno, Assistant Chairman Practical Work, Williamsport. 
Trustees: Harry H. Heller, Williamsport: M. S. Myers, Jersey Shore: Frank 
Sevison, Muncy. 

Chicaeo Custom Cutters* Association 
Henning Janssen, President. 
Alex. Reaich, Vice-President. 

1. G. Herzka, Second Vice-President. 
John Oliverio, Treasurer. 

R. A. Gano, Secretary, 22 Quincy St. 
Charles W. Schabes, Financial Secretary. 
F. L. Rosenquist. Foreman of Practical Work. 
Samuel Backstrom. Assistant Foreman of Practical Work. 
E. W. Lindberg, Librarian. 

Trustees: Walter C. Foster, John Nolander, O. W. Peterson, Fred Boyle, 
W. G. Cooper. 

Cincinnati Custom Cutters* Club 
W. H. Klett, President. 
E. A. Hesselbrook, Vice-President. 
A. J. Birk, Treasurer. 

H. W. Klugman. Secretary, B West Seventh St. 
John Fantine. Foreman. 
Henry J. Pieper. Assistant Foreman. 
Directors: Frank S. Heard, W. J. Schoeliver, C. H. Blase. 



John 



Nicklas, John 



Cleveland Custom Cutters* Club 

man Kopman, President. 

er Moore, First Vice-President. 

nk Kub. Second Vice-President. 
Aikens, Secretary. 
Wm Hupertz, Treasurer. 
Jas Harmacek, Chairman of Practical Work. 

Columbus Custom Cutters* Club 
L. C. Tyler, President. 
A. O. Brown, Vice-President. 

C. S. McKee, Secretary and Treasurer, 518 Col. Savings & Trust Bldg. 
M. F. Gibson. Chairman of Practical Work. 
Committees : Chas. Schaeffer, Entertainment : M. F. Gibson, Publicity ; A. M. 

Kearney, Garment E.xhibit ; C. C. Beach, Membership. 

Dallas Custom Cutters' Club 

E. I. Zettervall, President, 1009 Main St. 

Herman Shulze, Vice-President, 114 S. Akard. 

H. C. Giegling, Secretary, 3120 Swiss Ave. 

E. E. Quist, Treasurer, 1009 Main St. 

Paul Giese, Chairman of Practical Work, 1708 Commerce St. 

Detroit Custom Cutters' Association 
Harry Lenox, President. 
Hugo Zander, Vice-President. 
Anthony Licht, Treasurer. 
George C. Herbst. Secretary. 102 Broadway. 
John Barsalow, Chairman Practical Work. 

Georgia Custom Cutters' Club 
S. Stark, President. 
R. P. Maggio, Vice-President. 

J. A. Cerabone, Secretary, 5 Whithall St., Atlanta, Ga. 
J. T. Lynch, Ti-easurer. 
Committee on Practical Work: J. T. Lynch. Chairman, F. E. Veltre. R. P. 

Maggio. 
Reception Committee : M. Derino. Chairman, M. Stark, J. W. Apel. 

Grand Rapids, Michigan, Custom Cutters' Club 

Edward Oesterhof, President. 
Axel Carlen. Vice-President. 
Dick Van Vliet. Treasurer. 
W. H. Strahn, Secretary, Straha 
C. A. Galine, Chairman Practii 

Halifax Custom Cutters' Club. 
H. H. Stanford, President. 
J. H. A. Bayer, Secretary. 
C. B. Lowe, Chairman Practical Work. 



Cutters' Associatio 



al Work. 126 King St., E. 



Hamilton, Ont., Custor 
O. Carlson, President, 27 Bay St.. S. 
C. F. McKeown, Vice-President, 26 Merrick 
E. D. Cope, Secretary, Acting Chairman Pi 
Alex Watt, Treasurer, 15 McNab St., N. 

Harrisburg Custom Cutters* Club 
H. E. Brown, President, Chambersburg. Pa. 
S. Shaffer, First Vice-President, York, Pa. 
Charles White, Second Vice-President, Shamokin, Pa. 
Wm. Stonesifer, Treasurer. Steelton. Pa. 
A. J. Simms, Secretary, 22 North Fourth St., Harrisburg. 
Robert Shope, Chairman of Practical Work, Harrisburg. 
Wm. Shaale, Assistant Chairman, York. 

Trustees: S. Shaffer, York: J. D. Lippy, Gettysburg; W. D. Myers, Hancock. 
Md. 

Indianapolis Custom Cutters* Club 
W. B. McMurray, President. 
Wood C. Cory. Vice-President. 

Harry G. Rosberg, Secretary, 406 Odd Fellow Building, Indianapolis. 
Wm. G. Schneider, Chairman of Practical Work. 

Kansas City, Mo., Custom Cutters* Club. 

Henry Axene, President, 402 Waldheim Bldg. 

Enoch Malmfeldt, Vice-President, 221 E. 22nd St. 

Herbert Brink, Secretary, 107 E. 10th St. 

David W. Axene, Treasurer, 402 Waldheim Bldg. 

Sam Bren. Chairman of Practical Work. 1115 Grand Ave. 

Lehigh Valley Custom Cutters* Club 

John F. Kirkpatrick, President, 408 Northampton St., Easton, Pa. 

Stewart F. Werkheiser. Vice-President, Easton. 

Edward N. Dietrich, Secretary-Treasurer, 8 South Sitgreaves St., Easton. 

Fred Lewis, Chairman of Practical Work, Easton. 

Francis C. Knouss, Assistant Chairman of Practical Work, 13 East Broad St,. 

Bethlehem. 
Trustees : B. C. Roeker, Frank Lehecka. Harry A. Butler. 

Los Angeles Custom Cutters' Association 
L. G. Clark, President, 212 Kirkhoff Building. 
R. N. Davis, First Vice-President, 260 South Spring St. 
J. H. Schleip, Second Vice-President, 454 South Broadway. 
P. Van Sant, Secretary, 421 South Spring St. 
C. R. Snodgrass, Treasurer, 444 South Broadway. 

Owen Goldsborough, Chairman Practical Work, care A. K. Braues & Co. 
Trustees : B. Gordon, P. T. Anderson, A. Stromson, B. U. Heffley, J. M. Huff 

man. 



252 



Louisville Custom Cutters* Club, Louisville, Ky. 

M. Cusick, President, 117 South Fourth St., Louisville, Ky. 

A. W. Fryxell, Secretary, 713 Fehr Ave. 

Gus Shellburg, Chairman Practical Work. Norton Building. 

Milwaukee Custom Cutters' Club. 

Walter Stroesser, President. 316 State St. 
Chas. Schuetter, Vice-President. 
A. W. Fridell. Treasurer. 

A. N. Swanson. Corresponding Secretary. 601 First National Bank Bldg. 
Alex Bialecki. Financial and Recording Secretary, 308 Empire Bldg. 
John W. Stark, Chairman of Practical Work. 

B. E. Kelley, Librarian. 

Trustees: H. T. Hoeft, Aug. Rohm, Jos. Willinhganz, Wm. Wondraska, 
N. F. Anger. 

Montreal Custom Cutters* Association 
A. Hurtubise, President. 
Chas. J. Wight, Vice-President. 
W. Wills, Treasurer. 

D. Lefebvre. Secretary, 237 West St. Catherine St., Montreal. 

E. Bentley, Chairman of Practical Work. 
J. Carlson. Librarian. 

Trustees : A. Backhoven, Ed. McCormack, A. L. Bessette. 

Newark Custom Cutters' Club, Newark, N. J. 

Archie J. Banks, President, East Orange, N. J. 

Theo. Widlin, Vice-President. 

Thos. J. Farley, Secretary, 853 Broad St. 

Geo. E. Zerbe, Treasurer. 

Oscar Dahlgreen, Chairman of Practical Work. 

New York Custom Cutters' Club. 

Chas. H. Engstrom, President. 

A. O. Aho, Vice-President. 

John T. Smith, Treasurer. 

Morris Wain, Librarian. 

William Gissel, Secretary, 220 Broadway. 

Chas. J. Staker, Chairman of Practical Work. 

N. C. Norris, Assistant Chairman of Practical Work. 

E. A. DeRose, Trustee. 

Ohio Custom Cutters' Association 
John P. Foose, President, Dayton, Ohio. 
Geo. W. Fisher, Secretary, St. Louis, Mo. 

Ottawa Custom Cutters' Club, Ottawa, Canada 
M. W. Hutt, President, 190 Sparks St., Ottawa. 
John Preston. Vice-President, 217 Rideau St. 
George Chambers, Assistant Secretary, 247 Wellington St. 

Peoria Custom Cutters' Club 

Adolph Klein, President. 

Geo. A. Heitkam, First Vice-President. 

David Serkowick, Second Vice-President. 

Henry J. Moeller, Secretary, 11 Arcade Building. 

Martin Palmquist, Treasurer. 

Pennsylvania Custom Cutters' Club 
<Vm. Fischer, President. 1021 Walnut St., Philadelphia. 
J. P. Roehme, Vice-President, 706 Market St. 
S. A. Peifer, Du Bois, Pa. 
Jacob Keller, Treasurer, Warren, Pa. 
Chas. Thompson, Librarian. Philadelphia. 

Philadelphia Custom Cutters' Club 

Wm. J. O'Brien. Vice-President. 

Louis Backe. President. 

J. Renzulli. Chairman of Practical Work Committee. 

Thos. J. McNulty. Treasurer. 

Wm. G. Witlin, Financial Secretary. 

Wm. O. Kramer, Corresponding Secretary, 4356 Josephine Ave., Frankford. 

Philadelphia. 
Harry Kendig, Librarian. 
Board of Directors: M. Casaccio. Wm. Dunn. H. A. Sandenberger, Samuel 

High, James Holly. 

Custom Club of Reading, Pa. 
A. B. Gerhard, President. 
Wm. F. Schrer 
L. B. Gerhard, 
J. H. Rieger, Tr 
Directors: A. B. Gerhard, A. H. Keenly. 

Seattle Custom Cutters' Association 
H. Swenson, President. 
Geo. A. Nicol, Vice-President. 

C. J. Carlson. Secretai-y and Trea-surer. 

A. A. Raby, Chairman of Practical Work. 

San Francisco Custom Cutters' Association 
Frank Davey. President. 
J. E. McCrystle, Vice-President. 
Otto A. Parsons, Secretary. 
N. Warshauer, Treasurer. 
W. L. Watson, Sergeant-at-Arms. 
James A. Maxwell, Chairman of Practical Work. 

Executive Committee: L. R. KiefTer, C. E. Fairchild, J. E. Ransburg, Walter 
Madison, Oscar Koski and Frank Mollett. 

St. Louis Custom Cutters' Association 

M. A. Wilson, President. 

Geo. J. Tolle Vice-President. 

Henry Bartel Treasurer. 

John Hoffman Secretary 204-205 Mermod-Jaccard Building. 

Fred Erdman, Foreman Practical Work. 

Trustees: Chas. J. Nahlik, W. H. Schmid. Geo. P. Rossman. 

Toledo Custom Cutters' Club 

Edwin F. Huber. President. 

Henry Daiber. Vice-President. 

F. L. Scott, Secretary-Treasurer, 601 Madison Ave. 

E. A. Born, Chairman of PracticTll Work. 



Toledo Custom Cutters Club 
E. J. Huber, President. 
H. I. Daiber, Vice-President. 
h. M. Barfield, Secretary and Treasurer, 210-212 Nichola 



Bldg., Toledo, Ohio 



Toronto Custom Cutters' Club. 

C. J. Levy, President, 32 King St., W. 

H. C. Little, Vice-President, 130 Yonge St. 
John McLean, Secretary-Treasurer, 120 King St. 
W. W. Girien, Assistant Secretary, 42 Yonge St.. Arcade. 
John McKinnon, Chairman of Practical Work. 188 Carlton St. 
Ed. Culley, Assistant Chairman of Practical Work, 92 Yonge St. 
J. Stuart Ferguson. Librarian, King Edward Hotel. 

Trustees : Wm. H. Miatt, 103 King St., W. ; A. Parke, 624 Church St. : 
Fred Macey, 244 Concord Ave. 

Twin City Custom Cutters' Club. 

Peter Widgren, President, 522 Nicollet Ave., Minneapolis. 

H. E. Fritsell, First Vice-President, 10 S. Fourth St., Minneapolis. 

Julius Rudberg, Second Vice-President, 10 S. Fourth St., Minneapolis. 

D. E. Bloomgren, Treasurer, 531 Marquette Ave., Minneapolis. 
W. C. McCormack, Secretar>', 326 S. Fourth St.. Minneapolis. 
C. C. Heckle, Foreman, 3139 Harriett Ave., Minneapolis. 

W. C. McCoi-mack. Information, 326 S. Fourth St.. Minneapolis. 

Washington Custom Cutters' Club 

Meets at Elks' Hall, 919 H St.. N. 
P. J. Foley, President, 1312 F St., N. W. 
J. M. Stein, Vice-President, 623 13th St., N. W. 

C. E. Lightfoot, Second Vice-President, Arlington, Va. 
L. E. Reed, Financial Secretary, 926 F St., N. W. 

E. B. Thiele, Treasurer, 1411 G St.. N. W. 

I. Geraci, Master of Practical Work, 1235 G St., N. W. 

F. K. Heindrich, Assistant Master of Practical Work, corner 13th and E 

Sts., N. W. 

D. S. Margolis, Librarian, 701 22nd St., N. W. 
S. B. Vignor, Trustee, 922 N. 22nd St. 

J. D. McConville, Trustee, Woodward Bldg. 



Winnipeg Custom Cutter 
H. Jennings, President. 
Jas. McLean, Vice-President. 

John Thomson. Secretary, 335 Notre Dame Ave. 
Dan Schwalm, Chairman Practical Work. 



Club 




LOUIS BANNER 

Secretary of the International Association of Custom Cutters 

of America. 



253 



HONORARY MENTION 



Charles Teriuger, Chicago. 

F. A. Lindhohn, Chicago. 

And. J. Wils, Rapid River, Mich. 

Wm. B. Devereaux, Philadelphia. 

H. Clay McGregor, Fulton Mo. 

Gulick Tailoring Co., Champaign, 111. 

James Fenzel, Armour, S. D. 

W. Clark, Hamilton, Ontario, Canada. 

F. J. Schmidt Co., Annapolis, Md. 

George Burston, Alpena, Mich. 

Chas. J. Strutz & Son, Atlantic, Iowa. 

Frank Ciszewski, Chicago. 

Hugo Frediani, New York City. 

Kaplan Cohero Co., Dallas, Texas. 

John F. Suda, Cleveland, Ohio. 

Isidor Farer, Bronx, N. Y. 

Paul Giese, Dallas, Texas. 

E. F. Petterson, Dallas, Texas. 

Wm. J. Treherne, Harvey, 111. 

Mr. Smith, Sunnyside, Wash. 

W. S. Gladstone, Eugene, Ore. 

Charles Bethke, Salisburg, Md. 

S. Frankmann, Merchant Tailor, Augusta, Ky. 

Albert Geis, Lisbon, N. D. 

C. B. Bishop, Chicago. 

Frank Mazzie, Chicago. 

R. S. Koiner, Cleveland, Ohio. 

Ed. Bacon & Co., Cincinnati. Ohio. 

J. W. Murphy, Shreveport, La. 

K. Bloem & Son, Chicago. 

E. H. Rose, Rockland, Me. 
Harry Perlmutter, Chicago. 
Fearn Boraton, Erie, Pa. 
John Peterson, Elyria, Ohio. 
Geo. Stein, Cincinnati, Ohio. 
S. Lekve, Hibbing, Minn. 

J. H. Moore, Cincinnati, Ohio. 

Emil Shamal, Cincinnati. Ohio. 

C. W. Lindgren, La Porte, Ind. 

Harold Paulson, Chicago. 

Chas. E. Greathouse, Middletown. Ohio. 

Philip Dwyers, Salem, Mass. 

Swan E. Dahlin Chicago. 

New York Merchant Tailors (Abbott Bros.), Pittsburgh, Pa. 

Nat Sanger, Pittsburgh, Pa. 

Chas. Wuest, American Art Tailors, Cincinnati, Ohio. 

Nicholson Bros., Minneapolis, Minn. 

Henry Lederman, Mexico, D. F. 

F. B. Russell, Mt. Gilead, Ohio. 
Carl A. Spogard, Saginaw, Mich. 
Sam Bertholtz, Worcester, Mass. 
Vincent Braecialarghe, Springfield, Mass. 
Hugh De Francisco, Stamford, Conn. 

F. C. Smith & Co., Plainwell, Mich. 

Steve Lovick, Flaggstaif, Ariz. 

John Basil, Pittsburgh, Pa. 

John L. Jorgenson, Leadville. Colo. 

Charles Haupt, Pittsburgh, Pa. 

Thomas Weiss, Alamosa, Colo. 

Jos. Shanka, St. Paul, Minn. 

Sam Woolf, Dallas, Texas. 

R. E. Campbell, Toronto, Ohio. 

Frank Kristan, Chicago 

Lindquist & Olson, Kingsburg, Cal. 

Lee Safdi, Norwood, Ohio. 

Callson & Ahnquist, Tacoma, Wash. 

Joe Oliver, .Sedro-Wooley, Wash. 

Emil H. Pitassy, Steubenville, Ohio. 

Chas. J. Larkin, Philadelphia, Pa. 

Leon Lasarow. New York City. 

George H. Judd. Alliance, Ohio. 

Samuel Joffe, Chicago. 

J. M'. Curry, North Yakima. Wash. 

Schmitt Tig. Co., Tuscaloosa, .Ma. 

Apolinary F. Sobolewski, Ossining, N. Y. 

Benson Feldman, Rochester, N. Y. 

Wm, Gottlieb, Celina, Ohio. 

W'illiam Hall, Huntsville, Ala. 

Ernest Schilling. Parkersburg, W. Va. 

Michael J. Romano, Spokane. Wash. 



W. R. Eostrom, Oakland, Cal. 
Carl E. Zitter, IDayton, Ohio. 
H. Mortenson, San Jose, Cal. 
J. D. Meyer, Wellsville, N. Y. 
A. J. Strutz, Iowa Falls, Iowa. 
G. A. Scott, Mt. Vernon, Wash. 

E. M. Bonoff, New York City. 
Karl Burger, Columbus, Ohio. 
Geo. L. Footers, Apollo. Pa. 

Frank Weiss, New York and Live Oak, Fla. 

Frederick Scheiss, Philadelphia, Pa. 

M. A. Kovelan, VVheeling, W. Va. 

Will T. Roberts, Muskogee, Okla. 

John Beck, Fresno, Cal. 

Aaron I. Goodofif, Columbia, Ohio. 

Henry H. Wesker, Celina, Ohio. 

Edward G. Wilks, New York City. 

Joseph G. Bruno, Canton, Ohio. 

R. S. Koiner, Cleveland, Ohio. 

K. Kyriacon, Springfield, Mass. 

J. A. Beyer, St. Paul, Minn. 

Sol Friedberg, Hartford, Conn. 

A. A. Spacek, Grange, Texas. 

Bleck & Son, Dayton, Ohio. 

McLeod & Johnson, Boise, Idaho. 

C. W. Krueter, Cincinnati, Ohio. 

C. O. Mellstrom, Hillyard, Wash. 

A. Fernandez, Ybor City, Tampa, Fla. 
S. J. Wisniewski, Bay City, Mich. 
Gustave Pahrson. Tacoma, Washington. 
H. H. Rosenberg, .\nderson, S. C. 
W. T. O'Neill. Tacoma, Washington. 
Harry Levin, Portland, Me. 
Vincent J. Bittner, Bozeman, Mont. 
Karl Horkert, New York City. 
Charles J. Lemley, Missoula, Mont. 
N. P. Anderson, Salt Lake City, Utah. 
Jacob Seelig, Montpelier, Ohio. 

D. H. Mosher, Salem, Oregon. 
Jan Dubicky, Chicago. 

Carl O. Nygaard, Casper, Wyoming 
Wimmer & Chandler. Cincinnati, Ohio. 
Frank A. Mole, Detroit, Mich. 

F. Renipfer, Bridgeport, Conn. 
W. P. Quigley, Bartlesville, Okla. 

Morris Coleman. N. W., Washington, D. C. 
J. J. Bily. Lewiston, Idaho. 
W. D. Elliott, Tonopah, Nev. 
Patrick Ward. Westerly, R. I. 
K. Nowakowski, Broadway, N. Y. 
Walter Coleman, Washington, D. C. 
Chas. P. Novak, Cleveland, Ohio. 

C. F. Wm. Glissmeyer. Salt Lake City, L'tah. 
Pasquale Tacobucci, Cincinnati, Ohio. 

John LeFrank, Mansfield, Ohio. 

R. Pavloff, Portland, Oregon. 

Max Neudbauer, Columbus, Ohio. 

Rocco J. Petrone, Chicago. 

H. C. Kelsev, Roanoake, Va. 

R. T. De N'inno, Pittsburgh, Pa. 

Chas. F. Week-- Gardiner, Maine. 

A. N. Lineburg, McCook, Neb. 

John B. Bercrantz. Toledo, Ohio. 

Carl Schassberger. Oroville, Wash. 

Wallace C. Hafl. Wellington, Kan. 

A. Benson, Portland, Oregon. 

Karl A. Schuettler. -\ppleton. Wis. 

John Marz, M'enasha, Wis. 

Thomas D. Sears, Syracuse, N. Y. 

Chas. Verna, Philadelphia, Pa. 

H. N. Zulandt. Mt. Vernon. Ohio. 

Wm. J. Raab, Hamilton, Ohio. 

-Abraham M. Weinberg, New York City. 

H. Silverman. Little Rock. .\rk. 

D. Weintrob, Cambridge, Md. 

G. K. Smith, Tucson, Ariz. 

Roos & Le Coultre. Knoxville, Tenn. 
W. H. Busch. Parkersburg, W. Va. 
\\'. J. Lackie. Lyons Towa. 
J. B. Richards, Adrian, Mich. 



254 



HONORARY MENTION 



J. D. Kirdaly, Toledo, Ohio. 

H. Klain, W aterloo, Iowa. 

Nicholas Dalo, Louisville, Ky. 

E. L. Ekhame, St. Paul, Minn. 

C. F. Pann, Riverside, Cal. 

C. J. Renner. Mt. Vernon, N. V. 

Emil H. Pitassy, Steubenville, Ohio. 

MacCarthy-W ilson Tig. Co., Omaha, Neb. 

R. A. Brown, Flint, Mich. 

Herman Rosenblatt, Los Angeles, Cal. 

J. Edlin, San Francisco, Cal. 

1. Pelsner, Norwood. Ohio. 

G. .\. Donoian. Chicago. 

T. S. Endoe, Denver Colo. 

Michael Krempasky, Lyon.s, Iowa. 

Geo. J. Frenk, Indianapolis, Inil. 

John Serembe, New York City. 

C. 1-". Kubitz, De Pere, Wis. 

Smith & Oreger, Battle Creek. Mich. 
Mrs. Emma P. Kelemen, Buffalo, N. V. 
Wm. G. Kelley & Co., Chicago. 
Reichester Bros., Sisterville, \V . Va. 
S. Olson, .-\ugusta. Wis. 

E. H. A. Roemhild, Fessenden, N. D. 
.Arthur Rhodes, Stuttgart, .Ark. 

C. F. Sisson, V\ ilmington, Ohio. 

Richard & Healey, Liolyoke, Mass. 

A. L. .-Mbano, Norfolk, Va. 

R. Goldman, Baltimore, Md. 

John Gerdansky, Chicago. 

H. Johnson, Crystal, Minn. 

Leonard Berry, Russellville, Ark. 

Frank Niessner, Bremerton, Wash. 

M. D. Stolowitz, Woodlawn, Pa. 

Lewis Klein, New York City. 

Steve Rackets, Trinidad, Col. 

Carl Leidholm, Great Falls, Mont. 

Frank Chalky, Little Rock, Ark. 

Fred Wallace, Parkersburg, W. Va. 

Carl Leveen, Portland, Ore. 

Clem Heninger & Son, Oklahoma City, Okla. 

Geo. Carbiener, Tacoma, Wash. 

Thos. A. Wilbon, Norfolk, Va. 

L. J. Hazedorn, Lakewood, Ohio. 

John Torve, Seattle, Wash. 

Andrew Beritz, Chicago. 

M. N. Chougarskey, Portland, Ore. 

Ben Jacin, Newport, Wash. 

Edw. Urschalitz, Findlay, Ohio. 

A. Fernleaf, Chicago. 

Laddier T. Kapseen, Chicago. 

Geo. W. Baraurtz, Wausau, Wis. 

Leeds Woolen Mills. Milwaukee, Wis. 

F. J. Kotschi, Taylorville, 111. 
Abraham N. Rubin. New Haven, Conn. 
Jerry Mashek, CoUinsville, III. 

Stiefel Bros., Inc., Burlington, la. 

Spector & Son, Trenton, N. J. 

Jos Nadherny, Chicago. 

A. L. Birk, Cincinnati, Ohio. 

Jos. O. Hylen, Kenosha, Wis. 

M. Shon, Howarden, la. 

Joseph J. Wiencek, Cleveland, Ohio. 

Larson & Sanderson. Salt Lake City, L'tah. 

Carl Schwerin, New York City. 

August N. Stenstrum, Seattle, Wash. 

.Andrew Karpenty, Toledo. Ohio. 

Kaderly & Wilmet, Monroe, Wis. 

H. E. Holloway, St. Louis, Mo. 

Pietro Pasaizzi, Rochester. N. Y. 

R. M: Schwalb, Dewey, Col. 

Geo. Bock, Sacremento. Cal. 

•A. J. Liman, Detroit, Mich. 

J. A. Maloney, Pueblo. Colo. 

Emil A. Berglund. Denver, Colo. 

.Angelo .\. Casamassa, Brooklyn, N. Y. 

A. Connelly, Joplin, Mo. 

Elof Peterson, Chicago. 

Max Sugarman, Chica.go. 

D. Schneider, St. Louis, Mo. 



M. \'. Daneff, Chicago. 

C. T. Stalberg, Iron Mountain, Mich. 
Hummel Fischer Co., Charlotte, N. C. 
Jno. Werner, Detroit. Mich. 

G. Rasgorshek, Omaha, Neb. 
Joe Ramacieri, Phoenix, .Arizona. 
P. L. Fugma, .Anaconda, Mont. 
Henry A. Beck, Los Angeies, Cal. 

D. M. Schwartz, Patterson, N. J. 

T. H. Hrinchuk, New Kensington, Pa. 

J. O. Schelia, Wichita, Kansas. 

H. F. C. Walker, Cleveland, Ohio. 

Wm. E. Dietcrle, Detroit, Mich. 

N. C. Hanson, Chicago. 

Philip Newport, St. Louis, Mo. 

Martin Hallquist, Chicago. 

.Malcolm W. Gillis, Chicago. 

O. Linderoth, Brooklyn, N. Y. 

John F. Liechfeld, Chicago. 

Saul Schorr, New York City. 

Marx Tig. Co., Denver, Col. 

Lawrence G. Clark, Los .Angeies, Cal. 

.Andrew Brennan, Dover, N. H. 

B. F. Angstad, New Castle, Ind. 
Nick Cenci, SteubenvJle, Oh;o. 
Louis Agresta, Steubenville, Ohio. 
Frank P. Zurn, Philadelphia. Pa. 

.Alex. Mackenzie. Colorado Springs, Colo. 
D. E. Grennan, .Ann .Arbor, Slich. 
Aniicci Ricci. New Castle, Pa. 

C. J. Strutz, Manning, Iowa. 
Sam Bren, Kansas Cu\, iVio 
Karl Sturtz, Zanesville, Ohio. 
Ralph C. Weaver, Kalamazoo, Mich. 

B. F. Joyce-Sam, Huston, (_ olo., and .Austin, Texas. 
.August Rintala, Ironwood. Mich. 

A. Olson, Eveieth, Minn. 
.Arnet Bros., Ypsilanti, Mich. 
Steve J. O'Brien, New York City. 
M. W. Milward, -Ann .Arbor, Mich. 
Harold B. Nelson, Denver, Colo. 

J. Perry Johnson, Olympia, Wash. 

Chester L. Shope, Harrisburg, Pa. 

Steve Thomas & Co.. Farrell, Pa. 

Carl D. Block, St. Louis, Mo. 

John Hoffmann, care C. G. Horn, Taylorville. 111. 

Original Custom Tailoring Co., Los Angeles, Cal. 

Jos. J. Franc, Carnegie, Pa. 

Jos. Watslawic, Grand Rapids, Mich. 

Anthony Florence, Carnegie, Pa. 

Oscar Rinnman, Green Bay, Wis. 

Phil. H. Langguth, Cleveland, Ohio. 

Swan Dahlin, Chicago. 

Charles L. Reinoebl. Smithfield, Ohio. 

J. J. Halcro Standish, Mich. 

George W. Carr, Philadelphia. 

Otto Beyer, Milwaukee, Wis. 

Wm. McCreesh, San Diego, Cal. 

W. H. Miatt, Toronto, Canada. 

Herman Simon, Fillmore, Cal. 

De Moulin Bros., Greenville, 111. 

Edward Erickson, New York City. 

Tohn A. Rink, Detroit, Mich. 

J. B. Wittry, .Aurora, 111. 

John I^. Arvidson, New Orleans, La. 

C. A. Stromsoe, Denver, Colo. 
Loewe Bros., Klamath Falls. Ore. 
Chas. L. Reval, New Orleans, La. 
David Serkowich, Peoria, III. 

B. Forchheimer & Co., Cleveland, Ohio, 
fohn C. Carlson, Chicago. 

A. P. Dethlop. Poltatch, Idaho. _ 
John M. A'ralm,ffron, Syracuse, N. Y'. 
Gustav Vassilaff, Syracuse, N. Y 
Walter Hudson, Mount Pleasant, Mich. 
S. E. Groszewski, Rochester, N. Y. 
S. Droeger, Pittsburg, Pa. 
A. M. Falvo, New York. 
,A. L. Johnson. San Francisco. Cal. 
Mike De Grcgoris, Boston, Mass. 



255 



HONORARY MENTION 



Max Gardner, Havana, 111. 

W. F. Karsner, Savannah, Ga. 

Frank Zid, Chicago. 

James E. Taylor, Lead, S. D. 

Evaggelos Birelides, Butler, Pa. 

Tames Manos, care of John R. Verhoeff Co.. Chicago. 

Peter G. Hoffstetter, Stanton, 111. 

Ed. F. Thorson, Boone, Iowa. 

Bert Inglis, Brantford, Ont. 

O. P. Spradling, Wolfe City, Texas. 

Herman Smith, Los .'\ngeles, Cal. 

Nathan Rothgieser, San Francisco. Cal. 

T. Shirasaki, Oakland. Cal. 

E. P. Carroll, Viniti, Okla. 

D. Bloomenthal, Superior, Wis. 

J. B. Luck, Vicksburg, Miss. 

W. J. Craig. Danielson. Conn. 

D'Alessandro, Stamford, Conn. 

Franc Vivas Capo, Marina, Ponce, P. R. 

Ben Fink, Ontario, Cal. 

Richard E. Walsh, West Point, Highland Falls, Xew "' 



Foty Vainas, Lynn, Mass. 

John F. Keller, Albany, N. Y. 

S. Soderborgna's Sons, Chicago. 

Anton Worm, Conway, Ark. 

C. J. Knapp, Syracuse, N. Y. 

Thos. A. Richard, Sulphur Springs, Texas 

H. Warrenlo, Vicksburg. Miss. 

Fischbein Bros., El Paso. Texas. 

.\ntonio Di Prato, Hartford, Conn. 

L. Rotenberg & Son, Attleboro, Mass 

Frank M". Williams, Butte, Mont. 

M. M. Inery, Ltd., Honolulu, Hawaii. 

Archig Takvor, Winnipeg, Man., Canada. 

John Maher, Winsted, Conn. 

Reis & Son, Lewiston, Mont. 

T. T. MadofT, Scranton, Pa. 

\V. E. Davison. Joliet, III. 

Jos. Kalal, Cleveland, Ohio. 

Wm. Weir, Sask.. Canada. 

B. P. Anderson, Stanton, Texas. 

Chas. Kravetz, Falmouth, Mass. 

John J. Keig, Elgin, 111. 



EVIDENCE OF APPRECIATION 



n^ 







MEDALS AND DIPLOMAS AWARDED TO THE AUTHOR. 



nO'23S 



256 



